Arts Council OF GREAT BRITAI N Value fir Money

;ES;VHH AND IN,'-ORMATiON L13PARY

DO NOT REMOVE FROM OM THIS ROOM

Thirty-second annual report and accounts year ended 31 March 1977 Thirty-second Annual Report and Accounts 197 7 ISBN 07287 0143 X

Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1 V OA U

Designed by Paul Sharp Printed in England by Shenval Pres s

The montage on the cover illustrates the work of the Art s Council's specialist departments : Music : Page of vocal score of Sir William Walton 's Troilus and Cressida, showing revisions made by the composer for the 1976 production by the Royal Opera Art : Foy Nissen's Bombay by Howard Hodgkin Drama : The Olivier auditorium at the National Theatr e Literature : Some books and magazines published or subsidise d by the Council

Contents

Chairman 's Introduction 5 Secretary-General's Report 7 Regional Activities 15 Drama 1 6 Drama 1948-1977 (a personal commen t by N. V. Linklater) 20 Music 23 Visual Arts 26 Literature 30 Touring 3 1 Community Arts 32 Festivals 34 Housing the Arts 34 Training 35 Research and Information 36 Marketing 36 Scotland 37 Wales 41 Membership of Council and Staff 44 Council, Committees and Panels 45 Annual Accounts 53

The objects for which the Arts Council of Great Britai n is established by Royal Charter are :

1 To develop and .Improve the knowledge, understanding and practice of the arts ; 2 To increase the accessibility of the arts to the publi c throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects.

Chairman's Introduction

It seems hardly appropriate that I as a very new Chairman - I am writing only six week s after taking up my appointment - should be introducing an Annual Report covering a period for which my predecessor, Lord Gibson, was wholly responsible. The opportunity is, however, most welcome since it enables me to pay my tribute to Lord Gibson for th e wise leadership, the vision and the understanding he displayed throughout his five-yea r term of office. None of them were easy years and the last one or two in particular brough t money problems perhaps more intractable than those his predecessors had to face . I have quickly learned how much I owe to him and how fortunate I am that, despite thes e problems, he left the Council in such good shape .

The other matter I should like to raise here is the composition of the Council, since this has attracted criticism in some quarters during the past year . The members of the Arts Council are appointed by the Secretary of State following consultation with the Ministe r for the Arts and the Chairman . The objective of all three is to have a Council which i s broadly based in more than one sense . There should be members who have a n understanding of and a love for the arts in general ; there should be some who have perhaps a deeper knowledge of one particular art form . The members should come fro m different parts of the United Kingdom and from a variety of educational, cultural an d social backgrounds . The academic, the practitioner and the consumer should figure i n the membership . There need to be enthusiasts for both the traditional and the avant-garde . And not least, a sizeable proportion should have had experience of the process of collectiv e decision making through committee or other groupings, and each should be ready t o support a majority view whatever his own . Such a group of individuals should be more able than most to recognise what is best in the qualitative sense in the arts ; they will equally, one hopes, have sympathy with the more popular manifestations of art . Their minds need to be open to new ideas, and alert at all times. They should have differin g views and approaches, and yet be able to function as an entity, without necessarily always reaching a consensus .

While neither I, nor I think any of my colleagues, would claim that the present Counci l is exactly the paragon which the foregoing implies, it does as a body broadly fulfil thos e requirements. To dismiss it as merely elitist, as some of our critics have done, is quite simply to ignore the character and background of its individual members .

What is the alternative to the present method of appointment? How would one set abou t making the Council more representative or more democratic, to choose the two favourit e objectives and epithets of our critics ? We should, they say, have representatives of th e local authorities, the trades unions, the arts professions sitting on the Council as of righ t and nominated by their parent bodies . The Arts Council covers a very wide spread of th e arts and it is largely for this reason that both the Minister and the Council have in th e past doubted the value of representation as such. If this trades union were represented , why not that one? If this profession, why not the others? And why this particular loca l authority? Clearly, there would have to be ruthless selection leading to distinctions of the most invidious kind, which would satisfy almost nobody ; or one would have so many Chairman *~ IntroJnrti~M

representatives that the Council would become a parliament, cumbersome in operation, interminable in discussion and almost incapable of speedy action .

One way ofachieving more democracy might be through some process of election, and indeed this has been advocated by some . But it is difficult to believe that they have thought seriously about such a proposal . How would constituencies be drawn and by who m Would the boundaries be geographical, occupational or what- And how many peopl e would trouble to vote on what most might regard as a peripheral issue- The solution seems unlikely to emerge through the ballot box . Perhaps the present system of ministeria l appointment, with a limited term of office and therefore a constant change of membership , is after all preferable to the alternatives so far canvassed .

KENNETH ROBINSON Secretary-General's Report Value for Money

The details given below of the work of the specialis t the minority which enjoys these arts is a very sizeabl e departments of the Arts Council reflect a year of one, and it is steadily increasing. Second, some of th e considerable achievement by artists and ar t work of the `traditional' theatre, for example, ha s organizations, despite a `no-growth' grant-in-aid from eventually reached vast audiences . Look Back in Ange r the government to the Council . came from the subsidised theatre, where it was enormously successful, but it has since been seen b y It is often said that in a time of financial difficultie s many more people through commercial exploitation s the arts cannot expect to be exempted from cuts, in London and New York, in the regional reps. and in especially when essential services, such as schools an d foreign productions, and finally by millions in its fil m hospitals, suffer them . This way of putting it implies and television versions . Third, through a `two-ste p that the arts are not an essential service, but a luxury . flow' process some of the fruits of developments in th e Most people, however, would agree that life is more arts permeate to those who do not directly experience than livelihood and that the arts provide an essentia l them, not least through the design of everyday things . service to the community by helping to make lif e Again, teachers form a significant part of the art s worth living. audience and it would be surprising if those they teach did not derive some benefit from this fact . Finally, it Arts support received an unusual amount of attentio n should be emphasised that the Council has over th e during the year. There were three published reports : past decade deliberately extended its scope . The a Labour Party discussion document, the proportion of the total grant spent on arts centres , Redcliffe-Maud report on Support for the Arts in touring, Regional Arts Associations, arts films , England and Wales, and the TUC Working Party photography and jazz has increased more than ten-fol d report. It is significant that all three advocate increase d in that period. government expenditure on the arts. The key to the enjoyment of the `high' arts by a wide r The present expenditure in Britain works out at about public is a better education in the arts at all age level s 2- p per head of population per week . This is a modest from primary school to adult education . Lord enough amount in all conscience when one consider s Redcliffe-Maud is surely right to urge that : `We must the range of activities supported by the Council 's reject the long established fallacy that "arts support" grant. In Holland, with a quarter of Britain's population , and "education" are two separate things . More the amount spent on public subsidy for the arts i s positively, we must insist that those responsible fo r twice that in Britain . In Germany three cities togethe r them are natural allies and see to it that they collaborate spend as much as the total subsidy to the arts i n at national, regional, and local levels .' Britain. The Paris Opera receives nearly twice as muc h grant as our Royal Opera House, and the Vienna State Opera has more than three times as much for a Politics and the Arts similar operation. It is sometimes argued that the Arts Council 's support is mainly for arts enjoyed by the middle class, and tha t At the lowest level, increased aid for the arts could b e this is incompatible with, for example, a socialis t s j ustified even on strictly commercial grounds . The policy for the arts . For many years, arts policy ha tourist trade is largely encouraged by the cultura l been substantially bipartisan in its general thrust, an d amenities offered by Britain, and the tourists ' it would seem a retrograde step for it to become a contribution to the balance of payments vastly battle-ground for party-political strife . Both the main outweighs the amount spent on the arts . parties have accepted the need (embodied in the Art s Council's Charter) to make the arts accessible to a larger proportion of the population . It should be clear Minority Art s to all parties that the main obstacle to a fuller The TUC document relates the case for an increase t o achievement of this policy is the lack of sufficient fund s the need to develop `popular' arts. It is true that Arts to develop new programmes in several directions . Council support has in the past been concentrate d mainly on arts enjoyed by the minority : opera, ballet, Since both the main parties likely to govern have thi s symphony orchestras, the traditional theatre, art year established working parties on arts policy, whos e exhibitions, poetry and serious fiction . Several reports have not been published at the time of writing , qualifications need to be made to this statement . First, we shall perhaps soon know whether there are real Secretary-General's Report

differences between them in this area . It would also be door to enrichment because you have failed to giv e good to know their attitude towards the politicization people a key that fits it . of the arts. Hitherto it has been the pride of Britis h policies for the arts that they were not, as happens i n Seven years ago Lord Goodman, when he wa s many countries, implemented by a government Chairman of the Arts Council, wrote that the Council ministry, but were entrusted instead to an independen t believed that, although the artist's message coul d body (the Arts Council), thus keeping politicians, i n enrich the lives of those who receive it, `we do not Lord Redcliffe-Maud's phrase, `at arms length' fro m succumb to the error that this message can be the artist . We are concerned to find that this principl e understood without effort and study' . He was surely finds less acceptance among local government members right, and we have already suggested that those wh o than among national politicians . Lord Redcliffe-Maud argue that all art must be simple and yield its message warns that unless it is accepted, `there is no future fo r immediately to the untutored eye or ear are wrong. arts patronage through local government' . He woul d Those who take that view often speak of `de-mystifying ' certainly regard it as unthinkable that the principl e art. We should certainly rid art as far as possible o f should be abandoned by national government . mystification, but great art does not easily let you pluck out the heart of its mystery. Moreover, local authority expectations of representatio n and influence are often quite disproportionate to th e On the other hand, it has been argued, by the late amount of subsidy they give . Some enlightene d T. S. Eliot among others, that it is a condition of th e authorities are generous in supporting the arts in thei r survival of the arts of the minority that they shoul d areas ; others show far less willingness to support th e continue to be the arts of the minority. The Arts arts than, say, swimming baths - which are used by a Council's work is dedicated to the denial of tha t smaller number of the rate payers than those who enjoy proposition . The slogan of its predecessor, the the arts. war-time CEMA, might be its own : `The best for th e most'. It was surprising to find one of the most It is sometimes argued that all art is `political' . It enterprising and successful of popular theatre writers would be truer to say that much art tends to be and directors subsidised by the Council, recentl y critical - critical of the status quo. This is the case in coming very near to endorsing Eliot's view, thoug h Britain and other western countries, and in th e from a rather different political stand-point . He is Soviet Union. It is the mark of a free society that it a t reported to have repudiated a certain play with thes e worst tolerates criticism of the status quo, and at bes t words : `To appreciate that form of theatre, you need welcomes it. Only in a totalitarian society is all art experience of higher education, and that's the politic s expected to support the status quo, and it would be a of elitism.' This alleged statement certainly represent s step towards such a society if support were given onl y a fairly common view held by those who speak , to socialist art under a Labour administration, an d dismissively, of bourgeois art or elitist art, which they only to conservative art under a Conservative now propose to replace by more popular art . administration. Where art requires higher education to be appreciated , Art is sometimes described as right-wing because its it is absurd to call the art itself `bourgeois' ; it is the audience is largely middle class, but this is simply t o access to a higher education which has in the past bee n confuse issues. If Miss Joan Littlewood's brav e restricted . The remedy is not to replace complex an d attempt to bring drama to the east end of London difficult art with that which makes an instant appeal t o attracted a mainly middle class audience, this tells u s everyone ; it is to develop arts education at all age levels . more about the state of popular taste and publi c That, presumably, is why the drafters of the Arts education than about Miss Littlewood's offerings. The Council's Charter prescribed as its first task `to fact is that although art potentially belongs to all men, develop and improve the knowledge, understanding it is often complex and demanding and actually and practice of the arts'. I greatly regret that the presen t belongs only to those who have the education an d financial stringency has precluded the appointment of experience which equips them to enjoy it . By all means at least one education officer to help the Council t o let us develop arts at a less demanding, popular level ; fulfil, in collaboration with educational organisations , but to dismiss as elitist the subsidising of the great this prescribed task. works of the past or the often `difficult' works of contemporary artists, is to condemn the lock on the Nevertheless, so long as educational inequalities Secretary-General's Repor t

exist, there is a case for especially encouraging thos e contradiction or dichotomy between community art s parts of our artistic and educational efforts whic h and the established arts. Support of the one shoul d speak to the actual condition of the potential not, and need not, involve hostility towards the other . audience. It is no use saying, in effect, `Let them ea t The two should be complementary'. It is part of the cake' ; which in this case means `Let them take opera Arts Council's purpose to ensure that a larger portio n or Shakespeare, or go without' . Hence the importance of the population enjoys some worthwhile form o f of such activities as small-scale touring theatre playing artistic experience than at present . `Worthwhile' in non-theatrical venues, to which the Council ha s is a crucial word here, for some enthusiasts for les s given greatly increased grants in the past year ; hence demanding arts speak as though the very idea o f also the importance of community arts . evaluating artistic experience is a wicked elitis t practice. (Is the man who can appreciate the quality o f Manchester United's play also an elitist :) The word Community Arts `excellence', so long used in Arts Council parlance, i s It is two years since the Arts Council began to subsidis e an affront to those who think (quite wrongly) that i t community arts on an experimental basis . This year a involves a rejection of popular arts in favour of th e working party was set up to evaluate the experiment . grandest and most expensive art forms . The working Before discussing its findings, it may be useful to recal l party, while anxious to see community arts developed , what is meant by community arts . The term refers to insisted (though this should scarcely be necessary) tha t the activity of artists in various art forms working in a "the quality of work of all community arts projects particular community, and involving the participation must be assessed'. It is reassuring that they found thi s of members of that community . The working party necessity fully endorsed by the many community came to the conclusion that : `By involving the publi c artists with whom they spoke. in the creative process they (community artists ) recognize a widespread need for creative expression i n society, and seek to remove the feeling that art i s Cultural Democracy something remote, something irrelevant to the ordinary It must be a basic principle of community arts wor k process of life'. (as of adult education) that in approaching people yo u must start where people are . Thus far we agree wit h In the language of the Council of Europe's publications the `cultural democrats'. The second basic principle , on cultural policy, community artists practis e however, is that growth and development are the `cultural democracy' - working from within th e essential signs of truly creative life, and at the end of community to create something of artistic value , the process many, though doubtless not all, of the rather than `the democratization of culture', which people involved in participating in community arts means making what is often disparagingly referred to a s should be capable of proceeding to enjoy a greate r `heritage' culture available to a wider audience. share of the common cultural heritage . The working Traditionalists sometimes talk as though Coven t party was right in emphasising that a policy of wider Garden and the Royal Shakespeare Company are dissemination of community arts `must often involv e threatened by the rising tide of popular music-making considerations other than immediate high artisti c or community drama groups ; while the innovators standards' ; but the key word there must be `immediate' often begrudge the money spent on established (or worse still, so-called establishment) arts, and clamour With an improved adult education service, whic h for a Robin Hood-style operation to adjust the balance . Redcliffe-Maud saw as long overdue and an essential An editor of Theatre Quarterly wrote during this year complement to any arts policy, those arts which require about the supreme importance of small-scale theatre further education for their appreciation will be brough t groups which she called `alternative theatre', invokin g within the scope of many more people . Many of us , a dictionary definition of `alternative' which made i t including at least two members of the present Arts clear that by choosing one alternative you reject the Council, who have had experience of adult education , other - in this case the rest of the theatre from the have already seen this happen in many people's lives ; National Theatre to the smallest regional theatre . an improved adult education service would make i t happen in many more. This is not the politics o f The Arts Council rejects this `either-or' view of the elitism, but the politics of democracy at its best . arts. It endorses the judgment of the working party o n community arts when it says : `We see no basic At its worst, democratic cultural policy assumes that Secretary-General's Report

`the masses' will never be capable of enjoying the best cent this year - is clearly inadequate ; but the chances in the arts, and so must be provided with a second best , of significantly- increasing it in a period of financia l or less. Surprisingly, Matthew Arnold detected thi s restraint are slender . To develop these new activities, trend over a century- ago when he wrote that : `Plenty the Arts Council needs new funds, as both the Labou r of people will try to give the masses, as they call them , Party discussion document and the TUC report an intellectual food prepared and adjusted in the wa y emphasise. Fortunately, the area of popular arts they think proper for the actual condition of th e should be a politically less difficult one to find mor e masses'. This is sometimes called `giving the publi c money for than the established arts . It is easy to tal k what it wants', but it really means giving the public rhetorically about `Arts for the people', but if you reall y what it can most easily be persuaded to accept . mean it, you have to vote more money for the arts. Some might argue that the National Theatre should b e The main present-day practitioners of this policy ar e closed to find this money, but this would simply be the providers of the poorest kind of mass entertainment , robbing Peter Hall to pay Paul . It makes no sense to whether in the press, on television or in the cinema . cripple existing arts achievement to promote ne w The irony is that here the vulgarians of the media joi n developments, although it makes a great deal of sense t o hands with the arts populists ; both underestimate encourage those companies with the highest tota l people. According to Arnold, the true men of culture expenditure to exercise the most stringent financia l would seek to do away with the distinction betwee n control, and this the Arts Council has emphatically the masses and the classes, and would seek to make the done this year . best of the arts available `outside the clique of th e cultivated and learned' . Similarly, the TUC workin g party on the arts explicitly rejected the view `that there Critics : Left and Righ t is a distinctive type of artistic expression which can b e The Council is from time to time criticised left an d categorized as "workers arts" ', though they did als o right, but not yet from the centre . As a `buffer' betwee n comment that `the cultural aspirations of workin g politicians and artists, the Council expects to b e people have been neglected '. buffeted by both sides, accepting it as an occupational hazard. In any case, some of the attacks cancel each Arnold was anticipating the CEMA slogan (`The bes t other out. For example, the Council is criticised fro m for the most') to which we have already referred, an d the right for giving grants to avowedly socialist theatr e the Arts Council stands in that tradition . This is no t groups. At the same time it is criticised on the left as to deny that devotion to `the best' may often mean th e being the tool of the ruling class with a bias against neglect of `the good' . In an attempt to avoid this danger left-wing groups. the working party made the following comment o n community arts work which they admired : `What we In fact several well-known theatre groups alleged to saw in each of these cases displayed a degree o f have suffered Arts Council disfavour on account o f excellence appropriate to the area, to the peopl e their politics have actually received ever-increasin g involved, and to the aims of the particular enterprise'. grants over the past few years . So it should hardly b e This statement, however, and especially the slippery necessary to reassert that the Council makes its word `appropriate', could mean the endorsement of assessments of arts activities solely on grounds of lower standards in community arts, if the possibility artistic value ; but it seems that it is . During this year of growth and development is not kept i n 7'ribune has more than once accused the Arts Counci l mind. of anti-left-wing bias. This provoked Miss Constance Cummings, the distinguished actress who served on The working party recommended, and the Counci l the Drama Panel for several years, to write and sa y agreed, that the Council should accept that community that she had never found a single instance of this . The arts had, in the two-year experimental period, prove d only time the present writer has heard politic s their worth and deserve continuing support at a higher discussed at the Arts Council was when the Drama level of subsidy . They concluded that the suppor t Panel held a general seminar this year on Theatre an d would, for the most part, be more appropriately given Politics, which produced vigorous if inconclusive by the Regional Arts Associations and Local Authorities discussion. than by the Arts Council itself, and discussions abou t this are proceeding. The proportion of the Council' s grant devoted to community arts - less than one per 10 floral Criticism another common criticism ofthe .-Arts Council , coming from a rather different direction, is based on moral rather than political grounds, and there have been occasions during the past year ++hen this criticis m has been madc, mainly relatim, to activities at the Institute of_Contemporary Arts (ICA) . They receive d massive attention from the media at the time when the last annual Report was being puhlished. In tact some nev%spapers %% ere so preoccupied by this that the% were unable to look at the Council 's account of the Fear 's vyork co%ering literally tho,usancls of pert+rrniances, publications and exhibitions, h% over 1,21!11 clients, and focused their censorious attentinn exclusi%cly on a single activity provided by a single client . it +%ould he sottncw hat less unreasonable to COndernri The %% hol e British press because a single pro%incial newspaper ha d a small undesirable picture or a tine inaccurate repor t on one of its many pages : less unreasonable, becaus e it was not the Council itself which had put on the offending exhibition, but tine of its clients . It is right that people should he concerned %% ]ill th e nature and quality of pictures, publications o r performances supported by public money, and the _Arts Council itself is concerned. At the same time, it cannot assume the responsibilities of the guardians (i f the la+% and public morals . A little thought N% ill shoe% that it is neither possible nor desirable for the Counci l art,, +% hick is w hat it was established to do, The Art , to pre-censor many thousands of arts activities Council v%ill continue urn take into account tile %% littl e throughout the country - which is w hat w ould h e %car's v%ork ofthc ICA, as ofall its other clients, when necessary to satisfy some of its critics . Further, th e assessing grants. There is alv%ays a chance that sonic one Council cannot take to itself the responsibility for tha t or t+so of its hundreds ufannual activities may giv e detailed clay-by-day supervision of clien t oflence to sonic people . That is a risk that must b e organisation s' prograntntcs Ni hich rightly belongs to the taken if the arts are to grow and de%clop, Contemporary stall'and governnnLT bodies of those clients. Lord arts (to use the adjecti%c in its precise meaning) have at Ciihson, as Chairman of the Council, made it clea r all time., been firund shucking and disturbing by many that the Council expects these w ho are directly people . Millet's picture ofgleaners, featured on last responsible for subsidised (organisations to exercis e year's cover, now scents almost chocolate-boxy in its their im n artistic judgment . I le continued (in a acceptahleness, but it produced great notice when i t reference to reported statements by the ICA' s was first shim n . One could quote many simila r Director) : 'The attitude of those people in the art examples in the history ofall the arts, but one fro m w orld w ho say that no artistic judgments are possible literature Ni ill suffice . 1Vhen it %%as first published , about contemporary art, and that the function of theosc Thomas I lardy's noel 'Jade the (lh~, ure %%as greeted by who preheat it is simply "to reflect w hat is going on" , a storm of moral indignation and was actually burned is totally unacceptable nr the Council' . by a bishop, It is novs a respectable classic. - a staple of universit~- courses for the impressionable young . In view ofthe interest focused on the W.A, readers o f This Report may care to kno+% that, since tha t '~So not all art that is `shocking' is to he condemned , commotion, the Director has resigned and has bee n and people w ho are not prepared to have their replaced, and the gmerning body has a nes% Chairman preconceptions challenged should keep away from The Institute continues to be funded by the art s contemporary arts and expose themselves only to those Council and it will continue to present contemporary heritage arts which time has rendered innocuous. 11

The Arts Council of Great Britain : The changing pattern of provision over the twenty years iq,;6 6 ,1'7 - 1 97 /7 Shown as percentages of the total funds

gs.

` G°i a f aa~ ° o

1956/ 7 1956/7

1961/2 1961/2

19607 1965/7

1971/2

19707 mi

tea.

1 3 Finance

This move of the Council funds towards certain area s tourism as the top of this country's invisible exports . of activity has, of course, been possible because of the emphasis moving away from others . Over the past The spin-off benefits of the success of the major dram a twenty years, the Council has been able to reduce its companies, opera and dance companies, orchestras an d expenditure of nearly 10 per cent of its grant-in-aid o n art exhibitions are many, just as the fringe activitie s Administration to under 31 per cent . Of course which proliferated in Newcastle recently were a spin-off administration accounts for a much larger proportion from the Royal Shakespeare season at the Theatre of any organisation's expenditure in its earlier year s Royal. In 1956 57 the Council was not fundin g and the percentage the Council spends o n photography, spent no money on jazz, did not mak e administration should rightly have reduced as its films, did not subsidise performance arts or grant-in-aid increased . Nevertheless, the Council's community arts. The Council, its Panels an d administration, especially at the top, is stretched t o Committees and its officers have all encouraged the the very limit (sometimes beyond it) and shortage o f increased diversity of its interests . Money is short and, office space and moratorium on staff numbers in recent unhappily, we have to reject many applications, bu t years has impaired its efficiency . Its very lo w the work only remains continuously exciting becaus e expenditure on administration can, therefore, be see n there is always the possibility of occasionall y as a false economy in years when there has been an encouraging something new or changing the pattern of increase in the demands on its staff. Not only has there something old . been the additional work for the Government impose d by the inception of PAYE, SET, VAT and simila r burdens but there are ever-increasing demands on the Council and its clients to substantiate its proper accountability for the expenditure of increasing publi c Regional Polic y funds. It is obviously more difficult to support the need for an increase in the Council's £37 million in I reported last year that, rather than continue with a 1976/77 than for the increase on £885,000 in 1956/57 . separate regional department, the Council had decide d to integrate policy for the development of the arts i n Obviously, there are special reasons for some of the the regions into the central administration, under my movements in the figures on the accompanying chart ; Deputy. This arrangement has contributed to th e the drop from the percentage spent on Opera an d forging of a much closer working relationshi p Dance in 1956/57 was caused by the Council movin g throughout the whole Council with the Regional Art s responsibility for touring major opera production s Associations . from the Carl Rosa Opera to the, then, Sadler's Well s Opera, now the English National Opera, coming unde r In financial terms, the Council's commitment to th e `National Companies'. The increase in regional fund s Associations was demonstrated by an increase in grant has been partly found by the Council's move awa y to all of them for 1976/77 amounting to more tha n from spending such a high percentage of its money o n 40 per cent over the previous year. Despite this the the National Theatre (now in three auditoria, then i n Council is finding growing difficulty in maintaining th e the Old Vic Theatre), the Royal Shakespeare (no t impetus so vital to the Regional Associations, owing subsidised in 1956/57 and now subsidised at Stratfor d to the low priority given by many local authorities to upon Avon as well as the Aldwych Theatre in London) ; their support . The Council takes into account when the Royal Opera and two Ballet Companies and the assessing grant-aid to the RAAs the often generous English National Opera (then at Sadler's Wells subsidies to the arts given directly by local Theatre and now at the Coliseum and on tour) . This authorities in their own regions . Even allowing for this, economic squeeze on the four national companies ha s their response to the RAAs in certain regions is at a been felt by them increasingly in recent years . They critically low level . This is a matter of serious concer n have been making efforts to cut back on every type o f to the Council, and we may not indefinitely be able t o expenditure rather than allow standards of internationa l sustain the present severe imbalance in some RAA s quality to decline and numbers of new productions t o between central and regional funding . decrease . Without these the Council would undoubtedly not attract such a high grant-in-aid, nor could it On a more constructive note, the Council has take n support its arguments about the attraction suc h steps to follow up Lord Redcliffe-Maud's endorsemen t standards have in the world of the arts, establishing of our policy to devolve responsibilities where possible 14 Regional Activities

to RAAs. This is a sensitive matter, on which th e elsewhere in this report and it is interesting to note tha t Council frequently encounters opposing views . On several Regional Arts Associations are attaching the other hand RAA's understandably argue tha t increasing importance to this area ; very closely their advisers and officers are closer to the problem s related are the varying approaches to `artists in th e facing regional organisations or artists, and moreove r community' and in this field there have been severa l that the Associations can act with greater authority an d noteworthy developments. North West Arts hav e effectiveness if they are seen to be responsible fo r introduced a town-artists scheme whereby, after clos e assessing the needs of the major artistic enterprises i n liaison with a local authority, an artist is appointed t o their region. However, many important regional be based within a town and to work with various group s clients have expressed a strong desire to continue to b e in the community, involving them in all stages of hi s assessed and subsidised by the Arts Council itself. work. This working relationship may result in mural s and sculptures in shopping precincts, housing estate s On the joint initiative of the Council and the RAAs a and recreation areas . The Regional Arts Association's Working Party was set up under the Chairmanship of financial involvement is seen as a seeding operation Professor Baldry to examine in detail how Lor d with the financial responsibility passing to the loca l Redcliffe-Maud's proposals on this subject could bes t authority over a three year period . Other example s be advanced, and to advise the Council . include Southern Arts Association who appointed a literature fellow based at St . Edmund's Arts Centre, i n This review, completed in February 1977, concluded Salisbury, and the Greater London Arts Associatio n that the next steps along the road to decentralisation who have continued their policy of appointing literature lie in a strengthening of the partership with RAAs, fellows to be based at local libraries throughou t rather than through the immediate transfer of Greater London . South West Arts appointed a responsibility for grant-aid of many more clients a t community artist, working in film, to be based i n present funded by the Arts Council . A number o f Sherborne . ways of re-inforcing co-operation were proposed, o f which the most significant was that RAAs should be Concern over arts provision for rural areas is evident encouraged to join with the Arts Council in th e from activities undertaken by several Regional Art s assessment of regional organisations . The Council Associations . South West Arts with a large rural trac t wishes to give every support to this aim . In practice has been particularly concerned with such provision this means major regional theatres, orchestras and arts for many years, and the past year has seen th e centres establishing a closer relationship with thei r consolidation of several Regional Arts Association - RAA, drawing whenever possible on their advice, promoted companies including Pentabus in the Wes t services and co-operation . On the Council's part, it Midlands and EMMA theatre company in the Eas t means increasing awareness that through a more Midlands. There has also been the launching of intimate knowledge of local conditions the RAA's Great Eastern Stage, a touring company establishe d contribution to assessment can frequently usefull y to meet the drama needs in the region covered b y complement the wider viewpoint of the Arts Council . Lincolnshire and Humberside Arts . In other areas the Regional Arts Associations have actively encouraged the regional repertory companies to tour widely wit h particular emphasis on the needs of rural areas ; Ipswich Theatre-go-Round has increased its village Regional Activitie s touring in the Eastern Region, and South East Arts Association have actively encouraged the theatres a t The Council endorses the view that Regional Leatherhead and Canterbury to provide tours Associations are in an unrivalled position to encourage throughout the region . local initiatives . Despite financial constraints, this yea r has seen Regional Arts Associations initiate, respond Similar initiatives have also been seen in the other ar t to, encourage and support a vast range and variety of forms : East Midlands Arts Association has established activities which individually are of regional importance the EMMA Dance Company to provide (in tande m but if taken as a whole represent achievements o f with the successful EMMA Theatre Company) a national significance. programme of classes, workshops, and performances . Cycles (in the West Midlands), Janet Smith Danc e Developments in community arts are covered Group (in Yorkshire) and the East Anglian Dance 15 Drama

Theatre are all providing a similar `product' and hav e affected and is unaware of the difficulties that have to developed increasingly closer relationships with th e be overcome by the company . The delays, relevant Regional Arts Associations . The Arts Council' s incompletions and compromises have cause d own small-scale touring schemes were also expanded unavoidable extra costs in wages and materials, and to include dance companies . loss of income because of the late opening of th e theatres. The National Theatre Board, which coul d In the field of visual arts, concern with rural area s not influence, and was not responsible for, these resulted in Lincolnshire and Humberside Art s shortcomings, understandably resents having to bea r launching a second Mobile Gallery to tour smal l the financial consequences . The Arts Council ha s exhibitions to centres throughout the region with n o repeatedly said that it was not prepared to subsidis e suitable display spaces. Other Regional Arts the opening of the National Theatre at the expense of Associations have devoted considerable resources t o its other clients, and is thus equally concerned about their support or promotion of small tourin g how the deficit arising from these delays is to b e exhibitions. A pilot scheme was developed for Artist s financed . What is beyond dispute is the fact that the in Schools involving three Regional Arts Associations public - and the visitors from abroad - enjoy the who will attempt to work in concert to evaluate th e building with its extensive range of entertainment, in result. The scheme will involve as many differing the foyers before the shows, as well as the theatre s institutions as possible, with varying lengths of visits themselves . and the results may lead to possible developments o f the idea. The Tolly Cobbold exhibition provided an Manchester Royal Exchange The former 69 Theatre interesting example of collaboration between a Regiona l Company (which has now changed its name to fit its Arts Association, a private sponsor and the Art s new home) opened this ambitious, attractive an d Council . A major open exhibition of painting, with unique theatre in September 1976 . The illustration prize monies available, it was toured within th e on page 17 gives an impression of the theatre, although Eastern Arts Association region and subsequently see n nothing but a visit can accurately convey th e in Sheffield and London. extraordinary atmosphere of this building-within-a- building. It is gratifying to report that attendance s Four regional arts associations have, in conjunction since the theatre opened up to the time of writing have with the jazz Centre Society, established a northern averaged 80 per cent. branch of the Society to encourage and co-ordinate the promotion of jazz throughout those regions . The The Salisbury Playhouse Company This company ha s first year of operation has revealed a substantial interest been in existence for over 25 years, giving a in this field and an increasing number and variety o f distinguished service to a loyal and enthusiastic public , activities. in a building which was small, inconvenient and uncomfortable for the artists, staff and the patrons : (For details ofgrants to Regional Arts Associations, and yet it had a strange grip on the affections of almos t see p 76.) everybody who had worked or been entertained there . This was demonstrated by the quite exceptiona l response from artists and the public to the appeal fo r funds for the new theatre, which enabled it to open i n December 1976 free of debt and some months ahead o f Drama schedule - surely unique in post-war British theatre history? Since then the new Playhouse, seating 516 , has been playing to 98 per cent capacity . Openings and Closing s The National Theatre All three theatres in the buildin g Scarborough : Theatre in the Round at Westwoo d are now open (the Olivier in September 1976 : the This theatre is the result of an extraordinarily Cottesloe in March 1977). Each is distinctive and has a economical (£35,000) and speedy (60 day) conversio n special quality, and the scale and flavour of the whol e of a disused school . The company, which pioneere d enterprise cannot be fully appreciated until one ha s Theatre in the Round in this country, has hithert o seen performances in all three theatres . Unfortunately, played for summer seasons only in a room in the back-stage and technical functioning of the Scarborough Public Library . Although well advanced building is not complete, but the audience is not proposals for building a completely new 16 Interior of the Rout I .%, h .rnge'I hcatre . Manchc,tc r

theatre-in-thc-round have been pi,,il~ .wrd, the present `ne-,+' theatre, with a seating caliacin that is rather less than ideal, does at least enable the company to plat throughout the year .

j'/r 061 17r This theatre is, happily, open again afte r ,time months ofdarkness . The Governors of the Old l is had acted as benevolent landlords to the Nationa l Theatre, and, inr a vear or so beiiwe the National nm%eel out to occupy its m%n nem building, considere d litm best to run the Old Vic A hen it became fre e again. The Arts Council was obliged to tell the (iovernors that it would not he ahlc to find additiona l money fi)r a nc•w operation in their theatre . . great nta nr ideas sere considered by them, and in severa l nc-_,otiations actively pursued - occupation b y ~3t' thrr` An ,, ( :ouncil subsidised drama company ; •.It,ar','t1 1j L fI N drama, opera and ballet companies , t n . . t inrlrlu•tA&M managements, the re-creatio n i lirl 1 is Ginihanv. When the National Theatr e nl tn~ 11[1,111% mnred out in June 1976, afte r „ary repair . ant! maintenance to the building, I .c 1 McKcrn in 2 nele Vanta h ; Chekhav at the Ro+a l f}ct c ~ crc sonic months of letting to independen t F %change Thvatre helOre the theatre ~%as forced to close . 17 Drama

Prospect Theatre Company - although subsidised b y percentages. Children under 18 are practically the Arts Council only in respect of its touring in the unrepresented in general theatre audiences in th e regions - is mounting two seasons in the Old Vic in Nest End, except at Christmas. Community theatre 1977 and hopes in 1978 to make the theatre a Londo n groups often provide a theatrical experience very base for its touring operations . different from that given by establishment theatres ; some tour to whichever borough will take them, others Tyneside Theatre Trust This company, which operates concentrate on a local area ; but, compared to the in the University Theatre, Newcastle upon Tyne , potential audience, the number reached is very small. unhappily had to close down at the end of Januar y To improve the situation substantially, more Art s 1977, but, with very generous financial support fro m Council subsidy, and much more support from Tyne and Wear County Authority and a substantia l Education Authorities is needed - but both sources emergency grant from the Arts Council, the compan y are already stretched to their limits, and in th e was able to avoid going into liquidation . present financial climate increases on the level neede d are unlikely.

Enquiries and Working Parties Children's Theatre Working Party Partly as a result of Theatre in Tyneside From time to time the Art s these three reports the Drama Panel has set up a Council, Tyne and Wear County and Northern Art s Working Party to look at the provision of professional have considered the possibility of an enquiry into th e theatre for children up to the age of 13, throughou t whole range of theatre in the Tyne and Wear area, and the country. the crisis of the Tyneside Theatre Trust sharpene d the need for one. The three bodies have jointl y Theatre Organisations Working Party The professiona l commissioned Mr Rupert Rymes and Mr Cliffor d organisations which support the theatre - Council of Williams to conduct a wholly independent enquir y Regional Theatre, Theatres Advisory Council, into the overall provision of theatre in the area and t o Association of British Theatre Technicians, Britis h make recommendations. Their report will have been Theatre Association, British Theatre Institute and the submitted by the time this is published . National Council of Theatre for Young People - naturally face and suffer from the same economi c Provision of Theatre in London for Young People difficulties as the theatre itself. They receive smal l Three complementary reports have been prepared for subsidies, and the subscriptions they receive from their the Drama Panel over the last two years : members are too small - but as much as the companies can afford. A Working Party of the Drama Panel ha s Theatre in London f or Young People by Caroline considered the needs of these organisations an d Smith endorses the view that has been thought desirable fo r many years to bring the most active of these togethe r Investigation into the Possibility of setting u p into a British theatre centre, which could provide a Ticket-Travel subsidy Scheme for Young People in better service to everybody. The Council has agreed the Greater London Area by Caroline Eve s to commission a Feasibility Study on the setting up of a new British Theatre Centre, possibly in associatio n Community Theatre and Youth Groups in Londo n with the British Theatre Museum . by Philip Hedley It would be easy to assume that, as London is a worl d New Writing for the Theatre theatre capital, children and young people are well Several changes were made in 1976 in this importan t provided for theatrically, but this in fact is quite wron g drama scheme which has constantly been extended Children in the ILEA fare better than those in the since it began in 1952. The new scheme develops a majority of outer boroughs, yet only about 12 per cen t trend towards increasing support for the writer, wh o of ILEA children visited a professional production in a is the only artist in the theatre whose income depends theatre during school time in 1973/74 and only 1 6 solely on a percentage of box office takings, without an y per cent saw a production in their own schools . The benefit from subsidy. General subsidy must look after few theatres like the Unicorn, the Shaw and th e the normal management problems and productio n Young Vic, providing entertainment for young peopl e costs. A company's policy towards new plays is par t outside school hours, must be catering for even smaller of its annual application, and is taken into account 18 Drama

when assessing the subsidy to be offered . The old replace it, VAT, and the danger of pricing oneself ou t scheme whereby repertory theatres in particular wer e of the market. At the same time, the theatre earns the encouraged to put on new plays by offering smal l country an enormous amount in foreign exchange , guarantees against loss was of undeniable value ; because the arts - and especially the theatre - are one indeed it has resulted in what is now a transforme d of the main reasons said by foreign visitors to hav e situation compared to the 'fifties and ~arly'sixties . brought them to Britain . It is essential to the subsidise d The guarantees then were not only of financial theatre that the commercial theatre, particularly th e benefit to the company, but often provided mora l West End, should be strong . It is good that at last the support to the artistic director in persuading his Board Theatre Investment Fund has begun to function . to include new plays in the programme. In recent years, the guarantees were so small in relation to the theatre 's total subsidy that it was felt that their value as a n Puppetry inducement had diminished and that if a company Puppet companies are facing the same difficulties a s really believed in a policy of putting on new plays i t the rest of the theatre . Although no special allocation should do so without the small extra guarantees . has been set aside for them, applications are now Nevertheless, incentives are needed for new plays for considered alongside those from regional theatres an d children, and are still available . touring groups .

Reassessments Small-scale Groups The Drama Panel has continued the reassessment o f Subsidy was increased to the small-scale theatre group s supported drama companies, which it began in 1973 , (which are still variously described as the fringe, o r and a total of 29 have by now been completed . This is a experimental drama or `alternative theatre') . This wa s continuing process, undertaken for different reason s to enable companies previously unable to pay the in each case . The methods employed by the Panel have equivalent of Union rates to do so . varied over the years, and sometimes between one company and another during the same period ; some reassessments have worked very well, and resulted in a Regional Theatr e better understanding between the Arts Council an d Although many regional theatres and other companie s the company, even if no additional subsidy has bee n did better business in 1976/77 than in the year before, forthcoming . Others have not been successful . In the all are nevertheless in a precarious financial position . attempt to make this very necessary function as helpfu l as possible, the procedure has again been slightl y For 1977/78 it has been possible only to allocate subsid y modified, so that there will in future be two kinds o f to ensure the survival of the greatest number of curren t reassessment : (a)for information - to inform the Panel beneficiaries but not to encourage their developmen t of a company's present situation and future potential or growth. Firstly, the Council is supporting som e needs ; (b) in more detail- for exceptional cases when companies at all levels across the country, on a basi s it is known that a company has a special problem, that will, it is hoped, maintain their present positio n whether financial, artistic, or otherwise, or there is los s without further erosion from inflation : this has meant of confidence in the company . that other companies have had to receive somethin g less, accept a standstill, or even in some cases a reduction from their 1976/77 level . Nevertheless, some Independent Theatre s money has still been put aside out of which a number o f Although it does not directly involve the Arts Council, new applications and projects can be assisted . which does not provide subsidy for commercial theatre, the Drama Panel and the Arts Council ar e concerned over the economic plight of the independent Reorganization of Drama Panel Busines s managements. Many are in danger of going out of Over recent years the growth in the number o f business due to a combination of circumstances whic h supported companies and of new companies applyin g may be common to many sections of business an d for subsidy has placed an increasing burden on th e industry - inflation, rising prices, high overheads, Drama Panel and on the Council's officers . At the escalating production costs, plant and equipmen t same time it became apparent that the work of the running down and the difficulty of raising capital to specialist committees dealing with experimental 19 Dram a

drama and young people's theatre was in danger o f It is firstly- worth remembering that the Council' s becoming isolated from the mainstream of the Panel' s drama policy is activated, guided or modified by th e deliberations. Drama Panel -which means, over the years, about 17 5 distinguished professional theatre people, and also by a The Drama Panel set up a working party- to look int o succession of Committees of Enquiry, Working alternative methods of conducting Panel Busines s Parties, and Reports, on individual companies, or which would benefit the companies and the Counci l specialised subjects like Entertainment Tax, Theatr e alike. In the early part of 1976 following the workin g Censorship, Computer Bookings, Seat Prices, as wel l party's recommendations, changes in the operation o f as those more wide ranging like the Theatre Enquiry Panel business were set in motion. The Drama Pane l of 1968-1970 . Thus the Council's policy is not has since been guided by two principal committees : dreamed up simply by the officers, or a remote group the Standards and Reassessment Committee (recentl y of faceless people who might or might not know muc h renamed the Review Committee), which deals with al l about the theatre, but it grows from, and reflects th e ongoing companies ; and the Projects and New wishes of, the profession itself. Applications Committee, which considers requests from new applicants. The establishment of the The 29 years I have been with the Arts Council - 25 o f Standards and Reassessment Committee meant that them inthe Drama Department - have of course been a each area of work, whether concerning regional period of great change in the theatre . The Council theatre, young people's theatre, experimental drama , has always kept up with events, indeed has often or any other category, could be considered in relatio n successfully kept a move or two ahead of changin g to another. Every year, a number of companies are ideas and has initiated development ; but being a par t assessed in some depth, in order that the Panel ma y of these changes has meant little time for looking back . be as fully informed as possible when makin g recommendations to the Council on levels of subsidy. When making a final report to the Drama Panel i n New Writing still requires special encouragement an d March I wondered how much had been achieved . In attention, and this Committee has remained in the previous ten months I had visited more than sixt y operation. companies (mostly, and most of, the regional theatres) , and had found the standard of work on the whole very From time to time, working parties are set up to make acceptable : I had enjoyed my evenings in their theatre s more detailed investigation into special subjects . Since and felt that the public was getting good value for th e the reorganisation, a Working Party into Theatre prices they paid, and, generally, the Arts Council an d Organisations has met and advised the Council ; Local Authorities had a fair return for their subsidy . another Working Party is looking into the provision o f The acting, direction and settings were good, the fron t theatre for children. It is felt that this new system , of house seemed friendly, efficient and in most case s although not without its teething problems, is providing clean ; and the range of plays was a marvellous cros s a better advisory service for the Council and section of world drama . This surely was real consequently for its beneficiaries . improvement, I felt.

(For a detailed account of Drama expenditure , For comparison I looked through my file of programme s see pp 66 to 69.) of the plays I'd seen in 1952 when I came from th e Council's Regional Office in Nottingham to the Dram a Department, and was amazed to be reminded of th e variety and quality of what I had seen then in far fewe r Drama 1948-1977 theatres. A personal comment by N. V. Linklater, Dram a Has there been progress and improvement to justify Director, who retired at the end of the yea r the expenditure of so much money and effort ', Yes, of course ; especially in the conditions of work for th e This does not attempt to be a record of the Art s artists and staff, and in the comfort and service given Council's drama activities during the last 25 years or s o to the public . the Council 's Reports provide this and, especially for the period of Sir William Emrys Williams ' In the 50's there were about 100 repertory theatres ; secretary-generalship, present the picture vividly . many were commercial companies, and a good number 20 Drama

were non-profit-distributing, but getting along quit e Repertory Theatre were about the only companies t o well without subsidy from the Arts Council or an y play occasionally in London in the early 50's ; it was public source : the Arts Council supported about 30 almost as unusual for a new play to start its life i n companies. The trouble was that the majority had t o repertory and be re-cast and mounted for the West have a weekly change of play : fortnightly was manage d End. But during 1976/77 companies from eigh t by a few, and the luxury of three-weekly or longer b y regional theatres played in London, and many of the hardly a handful. Weekly rep. meant finding say 4 5 shows in the West End had originated in subsidise d plays a year - perhaps 22 for a fortnightly company - out-of-town companies. All this is healthier, surely . and thus the range of plays was often wider than it nee d be today : in one way, therefore, the public might see m The overall quality has been improved by a number of to have been perhaps better served. At the same time schemes which have been developed and modified to the pressure and working conditions of weekly rep . were meet the changing situation over the years- particularly , killing. In the Arts Council's first Annual Report, and and starting in 1952, the schemes for encouraging th e regularly throughout the 50's, the Council expresse d production of new, and later, neglected plays, and fo r its determination to abolish the `pernicious treadmil l giving bursaries or commissions to dramatists as wel l of weekly repertory' and encouraged any attempt t o as `topping up' their royalties to slightly more realisti c get away from it. Special grants were given to enable figures : these schemes have positively encouraged ne w companies to engage extra actors and producers so tha t writing for the theatre . Then came training schemes for they could give some shows two weeks' rehearsal eve n administrators and theatre managers ; designers ; though new productions still had to be put on ever y directors ; technicians ; actors; and modest sums t o week. Subsidy was given to help companies exchange maintain the standards of some Drama Schools . The productions occasionally with similar theatres, and s o value of all these schemes to the theatre as a whole has find extra rehearsal time for the next show . There wa s been quite disproportionate to the relatively tiny sum s the idea of a Theatre Grid, or network of theatres spent on them . Even smaller amounts given to help doing fewer productions themselves but touring the m some of the organisations that support the theatre - between other theatres in the circuit : a number o f Council of Regional Theatre, Theatres Advisor y exchanges were made and a committee considered the Council, and Association of British Theatre Technician s practicalities, but there were too many difficulties an d for example - have enabled them to continue giving a the plan could not be realised . At last weekly repertory service over the years which, had it ceased, would hav e in Arts Council-supported theatres was finally gone b y reduced the efficiency of the whole industry . the mid 60's . Now few companies play for less tha n three weeks, often not opening a new production unti l The new, or re-built theatres - 28 so far - have give n the Wednesday. The conditions are much better ; the the people working in them better conditions, where standards should be . Although the public in town X in the past they were often disgracefully bad, an d will see only 15 plays instead of 45, perhaps they are audiences a more comfortable night out ; the}, have happy with television for the other weeks . also enabled the companies to give a far wider an d better public service than ever was possible in the ol d In the 50's most repertory companies needed to kee p places which opened their doors half an hour befor e one eye, if not both, on the West End, and the lates t curtain up . With food before and after the show - release, and the crumbs from the then rich men' s bookstalls - lunchtime and late night shows - studi o tables sometimes seemed grudgingly given . This theatres - poetry readings - concerts, and so on, an d dependence on what London had finished with has with their audiences younger and from a broader cross- largely gone, and most companies now pursue a fa r section of the community . Unfortunately we have al l more individual policy . In fact the roles have bee n learnt that these fine new buildings cost far more to rather reversed, and commercial managers nowaday s run than had been bargained on, and it is depressin g have to keep a sharp eye on, and compete for, what the and absurd that most of them can only afford t o regional theatres and independent theatre companies provide an artistic output that is a fraction of th e are doing . Transfers of shows from repertory theatre s building's capability . Because so much unavoidabl e to London were almost unknown before the war (Si r expenditure must go on the overheads, and inflatio n Barry Jackson being the notable exception), and were has for some years outstripped takings plus subsidy , extremely rare in the years immediately after it . Apart it is only the artistic work that can be watered down. from two Repertory Festivals in London arranged by the Arts Council, Bristol Old Vic and Birmingham Naturally the theatre is sharing the country's economi c 21 Dnrmd

crisis, and most companies are in a precarious financia l slow-to-start-with emergence of a genuine alternativ e position . But there was a different, more dispiriting theatre, which has expanded enormously and rapidly in feeling in the 50's, when the imminent death of th e the last few- years. It is impossible or unwise to categoris e provincial theatre was not only talked about but was a the latter by a single designation : the groups began wit h real fear . Business generally seemed disappointing ; a variety of motivation - lunch time, experimental, ne w buildings were deteriorating ; and there was the endles s writing, ethnic, fringe, political, social, community , struggle to make ends meet. Countless theatres closed, children's, or anti-establishment companies . Perhaps often because their sites were more valuable fo r the only policy all have in common is the intention to re-development - mostly, to be sure, variety theatres , seek out new audiences in new places, and perform fo r but many fine playhouses too . Any sense o f people who would not otherwise see a live show . Their hopelessness in the 50's largely disappeared durin g quality is as varied as their impulse, and there are fa r the 60's . Public subsidy had become respectable an d more than the forty or so at present supported by th e accepted as essential, and there was a changin g Arts Council . Unfortunately, some of the regional attitude to patronage. Local Authorities were more theatres' young people's theatre sections, and som e inclined to help their theatres, although nothing lik e independent theatre groups, are of a bad and borin g adequately. Trusts, foundations, industry, private standard . As they are the only live theatre seen b y patrons, supporters' clubs were all more willing an d some of their audiences they possibly do as muc h able to find money . The building or refurbishment of' harm as good . theatres became possible and plans for many new theatres got under way . The bondage of weekl y All sorts of people, and increasingly within the last repertory was a thing of the past. Entertainment tax few- years, have told me that they find the London, the was abolished. Attendances were higher. At long last regional and the `experimental' theatre less enjoyable the National Theatre Company was formed and th e than they did a few years ago, because so many show s theatre itself was going to be built. The Arts Counci l seem increasingly boring and drab, if not downrigh t was to operate on a financial triennium and sensibl e unattractive or repellant . These people are not Aun t planning seemed possible. It would indeed be tragi c Edna or her niece, but still-addicted theatregoers . if the high hopes which were then built up - th e The West End, once a kind of Mecca to which th e growth which was then stimulated - were to be draine d provincial theatre manager or director bowed, o r away now. emulated, seems to me now, alas, a shadow of it s former self, hardly to be looked up to as a pace- o r A change during the early years was away from direct taste-setter for the British Theatre, and most management by the Arts Council of companies o r worryingly in serious financial difficulty, with soarin g theatre buildings, and from the one-night-stand tour s costs, narrow margins and the burden of'VAT. of Wales, the North East and Midlands, which ha d Throughout half my lifetime with the Arts Council, the been started by CEMA during the war and ofte n theatre has always been having a bad time . But we were achieved a remarkably high standard of direction , not simply crying 'wolf' : every theatre has gone through design and acting . One interesting statistic from th e innumerable very real and frightening crises and some period of direct management : the Midland Theatr e haven't survived . It is amazing, and a tribute to the Company, based in Coventry performed one week i n courage, resiliance and professionalism of those wh o the Technical College there, then toured the same work in them (as well as some Arts Council money! ) play for a further fortnight to (at various times) that so few companies have in fact gone bankrupt ove r Nuneaton, Netherton, Dudley, Loughborough o r the last 25 years . Those that closed are losses that still Cheltenham, and kept drama alive in Coventry with a sadden me . high standard until the Belgrade Theatre was built i n 1967. In its I I years' existence it played to 1,000,00 0 For those like me who love the theatre in spite of people and cost in subsidy £ 104,000 - that is IOp per everything, and who have had so much pleasure fro m head. If this was the average per capita subsidy these it, no praise or thanks can be too extravagant for th e days the Arts Council would be in clover . countless artists and staff who work in it today unde r all kinds of difficulty, but especially those who put up Two important developments during the 60's and 70's with bad pay, bad conditions, the `pernicious treadmil l were the Arts Council's decision to provide subsidy fo r of weekly repertory', and yet did good wor k Young People's Theatre, and the consequent burgeonin g throughout the bad years, and kept the theatre aliv e of this together with Theatre in Education : and the and capable, as it is now, of being beyond compare . 22 l'IF, `1'KTS and S\N ET Musi c I )wring 1970 77, after a long period of preparation The responsibilities of the Music I )eparunent ar e including protracted negotiations «ith the Inlan d multifarious. The country 's prumottcrs of %arie„ atc d Revenue, the "Theatre Investment I'und ('11F ) prolessional concerts may range from internationall y commenced its investments in productions being; renowned societies, %%ith histories reaching ; far hac k presented in the West End and on tour in the rcuion s into the nineteenth century, to ad hoc presentations o f by independent managements. The Fund of a quarte r individual programmes of particular value, amateu r ofa million pounds +.vas established with , ,'100,00 0 activity is not usually helped by the Council, though it s Irom Arts Council grants spread over t%%o \ cars ant ] officers are inyolycd in the National Federation o f fI i0,000 raised Irom private sources. Nearly twent y Music Societies' otfersofguarantces to the amateur productions have attracted investment from the Fund , member-societies . These guarantees are related to and its :annual Report will cam details o1 thes e their expenditure on professional musicians . acti\ hies interests. k%hich can he classed as educational are similarly no t normally the Council 's concern, though there are The Arts Council's concern Ior the independen t exceptions, such as the National Youth Brass Ban d managements further manifestal itself «ith a trial ru n and National Youth ( )rchestra, the Institute o f of its TKTS ('Pickets) scheme from ( )ctoher t o Ch oreoolocy, and two small dance organisations whic h December 1970 . This was largely modelled un th e go Intl) schools . scheme successfuliv launched in Ncw York in 1973 , whereby any unsold tickets on the day ofa perfiormance Some dozen festivals, including; some of t%orld can he sent no a centrally-sited caravan for sale at reputation, are regarded as preponderantly a Musi c one-half the face value Hof the ticket plus a nomina l I)cpartment responsihilitY, though they are shoxn i n sales charge . 111 1975 76 the Times Squarc schcnne the complete Festi%als List in Schcdulc, and du of made a clear profit of S100,0011 li,r the Thcatr e course include some other arts activities in thei r Development Fund which %%as ploughed hack int o programmes. various schemes to assist the commercial producing managements on Broad\%ay_ in London, apart fro m theatres who are not members of "S11ET (Society o f West Find Theatre), managements generally found tha t they did not \1 ish to co-operate with the'I K :S scheme and, in consequence, the Council was forced t o close it dou n at Christmas. However, the expertise is now there should the Society e\ er choose to interes t itself in the existence of such a scheme .

L seful talks have since been held w ith the Society of ' Kest End Theatre about problems common to bot h the subsidised and independent field . Indeed, there w ere weeks during 1976 77 when over half the productions in London were either by suhsidised companies or were productions originating i n subsidised theatres and being exploited by the independent managements. This healthy interchange is an excellent sign of the mixed economy in N%hich we live. The National Theatre diet of 7'iinhurlame and 11,imlet is lightened by a new production of, say , ))lithe Spirit origtinal[y presented in the West i:nd by a n independent management just as the Mermaid Theatr e henchiN front the subsequent West End presentation s of its productions of Fuumy Peruli,n- antl Side bl, Side Ilenry Davis, cot., aho died in fanuan 1977 . Since 1948 the Council has received ver by Swrdlteinr, the latter goingr on to success in New y generous henefactions from The Iienr ,y and York and other overseas productions. Lily Diris Fund to help postgraduate musicians 23 Opera

Michael lilaise and Geoffrey Char d in the English National Opera production of lain Hamilton's The Royal )lun1 ofthe Sio n

Opera the end of dul 1977, but had pcrfi,rce to delay its y It has been heartening to lind annparamcly gored decision about Future help l Or' such a comparati%cl y attendances li,r some contemporary operas during th e costly undertaking until its 1976 77 achievement s year. The RoNal ( )pera presented ll altnn's Troilus could he judged, and the Council had recei\e d ern,! Cte .mda, and the English National Opera gav e notification ul'its imn total grant-in-aid for 197T7$ . lain 1 lantilton's 7'!+r' Royal ))ctrl ~,/ Me S nt, and in ass(xiation «ith the Nc%% ( )pera Compam) Ciinastera ' s f!!omarza . The Rm al Opera completed its staging o f The Rm, ' cycle, but the English National Opera failed in its negotiations lior recording (in English) the lOurt h Dance of the tetralogy. "Three dance companies bound homes fiPr themselves during the year, I .undue Festival Ballet, for 26 years ~ report on ailanced opera training, by Sir I lug h hednulns oFthe ballet ~%orld, took a lease of - part of , 11 illatt with Ronald hinl(och Andcrsun and Geral d Queen Alexandra I house and, with aid from th e McDonald, was accepted by the Ca,uncll in May 1976, Council 's Housing the Arts Fund and From the and Sir 1 high subscyuentIV agreed to chair the Boar d started converting the premises to provide g(m)d of the ne%% National Opera Studio \% hick, wit h rehearsal studios, wardrobe, office and storage guidance from the administrators )l'thc live majo r accommodation ; one of the recommendations of th e

British companies, %% Ill succeed the London Opera 1969 Opera and Ballet E.nyuirv Report is thus being Centre in autumn 1978 . implemented . Contemporary Dance "Trust took a n adwriturous step in purchasing the Freeholds rui both The proposals and achievements of t he English Musi c The Place (its home since 1969) and Flaxman I louse , Theatre Company, successor to the English Oper a a large vacant building immediatel) hacking on to it . Group, "ere very fully discussed . Because of'the need Initial conversion work started immediately, t o for continuity• and clear Itimard planning, the Counci l develop extra rehearsal studios fi)r the company, an d agreed in ( )ctober 1970 to continue subsidy for the in the lone term to provide all the needed Facilities For programme the company had planned at least until both school and company . 24 4allk- Owen in Girl wilb .Stratr 11 .u a chorevtl;raphic [rihutc b y lu iuophcr lint[) Oil 111C (XCasio n I f .,llrt Ramhcrl', Uiitiet h kmiiikr, .tr, 6 .la on li Junc 1976. 1 he h .tllcl t~ .t ; inspired by an 189 7 photograph ol ' llfaric Ramhcrt .

lfcanwhile the "Pouring Section of the Royal Balle t it is becoming less possible to make the pry nits there announced that it etas too return to its old home w m hich used to be such an important contribution t o Sadler's Wells, where it too will once more have all its the Royal Opera I louse ' s hudgcts . It again spen t needs met under one roof. The mine officially too k three %%ceks in the'I'ent in Plvmouili, +kith capacit y place on I April 1977, but by autumn 1976 th e audiences . conlpanv had already assumed the net, name o f Sadlcr's NVOls Royal Ballet . It k, ill continue to h e We saluted our oldest ballet company, Ballet Ramberi administered by the Board of the Royal ( )pera I louse , , and assurances ha v e been gi,en that the tourin g „hich celebrated its Jubilee in 1970, and reached th e 10th annicersarv of itschange ofactivity from classi programme „ill he improved, and ifanvthing increased , c ut modern dance . Its audiences broke the ten-yea by the moyc. Sadler's Wells Theatre itself launched a r building appeal for a ne„ studio, and will rental[) a n records, %%ith the liox ()fbcc increasing by 17,W) to important international dance and opera theatre fur Britain ; it also won a huge and enthusiastic respons e in Israel London. . Ill these difficult times, some urtrds of it s founder, Dante :Marie Ratnbert {k, ho, in her late eighties, is still an active t)rce behind the company), This move followed protracted but unsuccessfu l come feelingly front an Arts Council client : `Penury negotiations to merge the Royal Ballet "Pouring Sectio n meant less material and more feeling and . %%ith Northern Dance Theatre, in the hope of making a brain I must thank Clod for having been poor" . strong ballet company for the North . The plans fel l through at the end uf'March 1976, partly because o f lack of funds. Northern Dance Theatre has appointe d It is sad to have to report that Nc%% London Ballet, a a new Director, Robert de Warren, k, ho presented hi s small company of classical soloists, which had survived first season in May 1977, and has changed its name t o for six years without revenue support from the Council, Northern Ballet Theatre . decided to close, and that Ballet International, whic h achleved excellent audiences for Its productions of The Royal Ballet main company completed one of its .\ aicr,acker and .Sh,eplnQ Beaut.), in the regions, had t o regular and very successful visits to the LISA, although go into liquidation some months alter its overseas 2 5 Contemporary Music

subsidy was withdra%N n . Nevertheless, support fo r commissioned from Mr Alan Rump of Bristo l dance in the regions has grown . In particular, East University (a member of the Council's Music Panel) . Midlands Arts created its own EMMA Dance Company (as sister to its theatre company) in autumn 1976, In the field of jazz, a most welcome development was and devised programmes of classes, workshops and the opening of a Manchester-based northern branch o f performances, which have shown there is a wid e the jazz Centre Society, serving the areas of four demand for modern dance on this scale . Two othe r Regional Arts Associations : Lincolnshire an d regional groups have also formed closer links : East Humberside, Merseyside, North West, and Anglian Dance Theatre with Eastern Arts Association , Yorkshire. Beginning with an outstandingly successful and Cycles with West Midlands Arts Association . `Jazz Sunday' at the new Royal Exchange Theatre i n .Manchester,' the Society organised and co-ordinate d The setting up in October 1976 of the Association o f concert and club appearances throughout the area by Dance and Mime Artists, an association of some 80 many British and American musicians who previousl y small groups and individuals, banding together t o had seldom ventured outside London. The good seek more aid for New Dance, should lead to interesting audiences and television interest in the jazz festival s developments . in Camden and Newcastle were encouraging and th e Camden concerts were immediately followed by the first meeting ever held in Britain of The Board of th e Contemporary music International Jazz Federation . Financial pressures continued to make the inclusion of contemporary music in orchestral programmes hazardous and comparatively infrequent . It seems tha t Wigmore Hal l a long period of `mixed economy' life, with grea t The 75th anniversary of this hall (which i s dependence on high average attendances, an d managed by the Arts Council) was marked by a consequent lack of the unusual in programm e special series of concerts, including what Arthu r planning, has conditioned some audiences excessivel y Rubinstein said was his final recital, having first to `liking what they know', and staying away from othe r played there in 1912 . The interest aroused in th e offerings . At a time when local authority subsidy is no t quality of the hall's acoustics is leading to its greater increasing to keep pace with inflation, and whe n use by established artists (as well as debutants) and for potential industrial sponsors are understandabl y recordings and broadcasts . interested in contributing only to what can b e demonstrated to be popular, there is a risk of th e (For a detailed account ofMusic expenditure, orchestral repertoire becoming still narrower . This see pp 63 to 66.) tendency is reinforced by the importance o f gramophone recording as a source of income an d status ; many conductors with established recordin g reputations have no time or interest to learn new scores. The special subsidy available to the London Visual Arts Orchestral Concert Board for contemporary music i s now being offered by it to chamber orchestras as wel l With architecture in eclipse and the private or as to the four subsidised symphony orchestras . corporate patronage of artists cut to the bone it ha s not been an easy year for the visual arts in Britain . The Contemporary Music Network's fifth yea r Inevitably an undesired and undesirable burden of included four performances in Cathedrals by the BB C patronage (miscalled censorship in some circles) fall s Singers and the Philip Jones Brass Ensemble, music on the state, and equally inevitably the searchligh t from which is to be included in a recording of works b y of criticism picks out the smallest error of judgement . Anthony Payne. Five other recordings of jazz an d Considering all this, the way the Art Departmen t improvised music were assisted, and a last annua l distributes its funds seems to have been broadly donation was given to the British Council, whose acceptable as a matter of policy, no doubt because th e series of subsidised records is ending after some 3 5 guidelines have been laid down by a large Art Panel o n years ; the Arts Council will, however, itself continu e which, as far as is humanly possible, all ages, interest s to help some recordings of works by British and philosophies are represented . composers. A study of composers' incomes was 26 IVO IheQueen at Iheopening of th e Iris41slam exhibition at the I lay war d Gallery ,

Exhibition s The year began at the I layt%ard Ciallery w ith th e opening of our . Iris r,f lslani exhibition by I IM th e (ticen . The show was planned as one of the cents in the World of lslam Festival, and %%as a sur%cy of all the

N isual arts o,+ith loans from countries in the !Middl e East, Europe anti the LI SA. The exhibition itm)k thre e years to plan anti prepare and was as complex a task i n organisation and lotrislics as we have"cr undertaken . Visitors numbered more than 120,M0 of %+hum abou t ! enemin Pamiiu ; Irom the XaAir mail Gallery, the 8,M) were children in school parties . start of an important projected series of small exhibitions ol"ditlerent schools ofpainting for show ing The bicentenary of'Atncrican Itulependcnce wa s in tmi or three regional galleries. like%%isc celebrated in 1976 . The Arts Council marke d the event with another eery large exhibition at th e At the Council's Serpentine Gallery-, we continue d layward Gallery which also took three %cars t o with our policy OF 11 mixed programme of young an d prepare : S,icreal Circles : 2,()t)l1 years of North America n relati%cis unknow n artists and bigger show s of w ork b y Indian Art . 'rhis was a heartening example o f prominent painters and sculptors . A notably successfu l Anglo-American collaboration ; the exhibits %% ere exhibition ofthe latter kind was it aminl lhhlgkin, a selected by an American expert, Mr Ralph T . Coe, show initiated by the ,Museum of Modern Art , director oi'thc William Rtwkhill Nelson Gallery of , ( )xford . "Through the generosity of the Arshile Ciork y Art Atkins Aluseum oE' Fine .Arts, Kansas Cit y , ] .state, we were lucky enough io have the rare Missouri, and we rccci%cd generous support frimi opportunitti of being able to borrow a number o f volunteer committee-s, laruly of Americans residen t works by this artist fur an entire year which enabled in 1-ondon, burned to raise funds and to help th e us to arrange live showings outside London and t o exhibition's promotion . Besides fund raising the bring the exhibition to the Serpentine . The Terr 1, committees also organised a highly successfu l Ft,oi exhibition, which was organised by the Sout h programme of guided tours ofthe exhibition for \1 cstcrn arts Association and also toured, pro%Ided school groups numbering 17,i1011 children oi 'all ages, a %i%id example ofthe enormous help w hich icle%isio n 4yith nianv ofwhom the culture of the'Red Indians ' can gi%c to the appreciation ofa painter's w ork . The Bound a lively response. The exhibition was %isitt:d by a BBC showed a film on 'fern f'rost's work and lift.• i n total of'] 77,0M people . their ( )rrtnibus programme shortl% belIm: the exhibition opened at the Serpentine . •I'he galler y '['he Council cuQaburaICd w ith the Victoria an d recei%cd numerous telephone calls asking fur Albert Museum to mount in London anothe r information about the show and the attendance wa s bicentennial exhibition, . Imericanr . Iri : 17011-1800 correspondingly increased by many visitors w ho ha d TUrva ds Independefice, organised by the Yal e iie%er bctirrc been to the Serpentine Gallrr% , Uni%crsity- Gallery where it had its first showing . In Till% incident underlines one ofthc perennial problems London the shot Was linancially supported by th e of our work, the ' Coll IMuniCaIiiin gap' hetwecrt the Nilgrims. contemporary artist and a public often understandahly suspicious of' clements in the art of 'I'wem%-three new exhibitions were added h% the Ar t today which der not appear to tit into traditional idea s I )epartment during the year ro the programn ►c of about art and its function . A number of artists se e shows touring outside London . Among the more thetnscl%cs in conflict w ith the purposes and aims of important o1 these w ere Niank. p Spencer, one of " a our society and this perhaps contributes to their lack series ofmaior exhihitions of original mortis planned of' rapport with a large section of the public, Certainly , firr regional showing ; Pup . Irt in fir{eland, organised sonic artists and critics compound mystilication by by the I lamburg Kunsncrein with help Irom th e seemingly wilful obscurity in their statements . British Council, show n first in Germany and then a t fork Art Gallery during the festival ; and two shows of But ct en the public's response to the exhibition , work by the British sculptors, Eduardo P3Ul41Z%i and The Human Gla )~ at the I layward Gallery, ~elected for Phillip Kin,,. In collaboration with the National us by the painter R . It . Kitai k% hose a%o«ed aim was to Gallery, there were showings in three centres of stake a stand for fi,"uration against abstraction, and in 27 Visual _ Irts

which the works exemplified the use of the huma n remains relatively small in this country . Books are a n figure in the art of today, was less than we had hope d effective way of promoting the work of British artist s for. Many of these works had been bought by Kitaj for with the public and of providing opportunities for the Council's collection ; other Arts Council collection critical writing, and we therefore began with a smal l purchases were shown in a second concurren t fund during this year to make available as grant s exhibition at the Hayward . towards the cost of the publishing of such books an d for the production of books by artists. We hope to Reverting to the Serpentine Gallery programme : continue to develop this area of our work . thirty-nine young artists relatively unknown to th e public were shown in five `summer shows' ; two of these shows were selected from an open send-in an d Film three artists were invited to select the other three : A major increase in the allocation for film activities i n Eduardo Paolozzi, John Golding and Michael 1976/77 not only increased the funds available for Craig-Martin. production but also enabled the implementation o f plans to improve the promotion of and availability of Arts Council films . Making sure that films are not only Purchasing made but seen is more difficult than it sounds and thi s Purchasing of the work of artists resident in Britain year considerable effort has been made to create a n continued with increased funds . The works were integrated system of production and distribution . A shown in exhibitions circulating to many centre s sales executive has been appointed, responsible for outside London, and we sent out others, both singly international marketing, and the availability of films and in groups, for long loan to regional galleries, via the Council's Film Library has been improved . universities and other public institutions where w e hope they will lead a useful life . This was the first year in which the Arts Films Committee's extended terms of reference - the suppor t of arts documentaries on any subject eligible for Art s Bursaries and Grant s Council support - were fully implemented. Eleve n In the financial year 1976/77, the Arts Counci l documentaries were started including films on dance , received 888 applications for Bursaries and Awards t o jazz and theatre and in addition a start was made on th e enable artists resident in England to undertak e biggest production to date, a seventy-five minute film programmes of work, obtain relief from teaching on Dada and Surrealism . commitments, or prepare for exhibitions . A specially co-opted selection committee of artists recommended a The Artists' Films Committee continued to devote total of five bursaries of X3,500, 25 Major Award s more resources to the exhibition of avant-garde fil m (£750 - £1,500) and 134 Minor Awards of up to £500 . and video including support for the Internationa l In addition, grants were made towards the cost o f Forum on Avant-Garde at the Edinburgh Film studios in individual or multiple occupation . In this Festival, The Derby Film Awards, Artists Video, a n context one of the more intractable problems is t o alternative use of the medium at Biddiek Farm Arts increase the accessibility to a larger public of the work Centre near Newcastle, culminating in Perspectives on which artists are helped to produce by means of these British Avant-Garde Film, an eight week programm e grants. It is to be hoped that grants for `artists in at the Hayward Gallery, London . A number of residenc e' in new towns and universities may contribute individual expanded cinema shows were supporte d to a solution by bringing artists and public into close r and a new scheme, `Film-makers on Tour' was association . Further ways must be found to increase launched to subsidise personal presentations by artis t commissions to artists from public institutions an d film-makers. The increased funds available to the industrial and commercial organisations . committee meant that there was no reduction in th e support of individual film-making .

Art Publishing A new development for the Art Film Tour has bee n The effect of rising costs in publishing has bee n the inclusion of a series of study units on the history o f particularly severe for art books, which need to be experimental animation, featuring many rare film s illustrated to a high (and expensive) standard of made available for the first time in Britain . These reproduction, whereas the market for such books formed the basis of Li(rht Play - Experimenta l 28

I I ;, ( , .u, „f 0a h, . . . J rill from Thr l~r_r,:av . .. ttl,n made for th e N S: - : .. r,' ilt,rrl,a ., :,rJn~efrom the , .r, , Runrauran 1lrnnrr, nl i .v,llurc

: 1 r :ru,rrf „f l'lltb- ] t 16h, a series of programmcs show n Dcpartnicnt ' s exhibition progranttne during the year . in rcpcri, Fr% at the ICA cinema, and suhscyuently toure d This was selected by Peter Turner and include d prints by ten foreign photographers who had worke d in Britain during the last 25 years . Photograph y Despite hard times photography continues to grow i n The Fear ended with the magnificent retrospectiv e popularity, and facilities for photographers continue t o exhibition of photographs by the West Coas t expand and develop . The must important event of- the American photographer Ethsard Weston (1886-1958 ) year was the opening of the Side Gallen' i n organiscd for a European tour h, the Museum o f Newcastle upon T1 ne in January 1977. The gallery , Modern Art of Nea Fork . and a 53 seat cinema linked to it, have groNyn out o f a successful co-roperativc of film makers an d photographers, %c ho have been based in the North Las t fi rr seven years. The Callen, directed by Ri on M& ormick, a member of the Council's own Photograph Cumntittee, is the largest gallery in th e ruuntry devotedy- entirely to phottgraph~ . It has already established its ability to bring majo r international exhibitions to this country anti has plain fitr an extensive tottrin .; programme.

The Impressions Gallery, now in its >th year, moved into larger anti more accessible premises in Colliergate , York, an(] has cunsiderahly increased its audience.

Three other ,allerles contlnucd to recch e subsidy - The Photographers' Gallen, London ; the Photographic Gallen` at the Uniycrsity of ' Southampton, and the I lalf Moon Photography Workshop in Whitechapel, Landon . \°urlr urt .~'d rt .(, 1'r ?h ; frntn tlu r~hrl,iunn ntI .,1 t,Jt,! 11 r .t ~,tt' . photograph%cirtitlaied In the Mu,euntof .\lodcin lit, \cti+ 1 „F A , Awards and Bursaries totalling f19,21 ?were grantccl and shoµn at the t lac maid Ciallerv in March 19_, f ilt (- t to thirteen photographers and a further fO, 160 wa s Edward Siciehen) allocated to establishing Fellowships an d Photographers in Residence schemes at Tren t Polytechnic, University of Sussex, and the Polytechnic of Central London.

One touring show 01her 1-) ,es was added to the 29 Literatur e

The publication programme was continued with a The Council continued its grants to writers an d second volume of the periodical British Ima;e, an translators, and, in the year under review these anthology of work by six photographers who hav e totalled £85,400 . Grants to novelists and writers of successfully completed projects supported by Art s non-fiction are easier to agree than grants to poets, fo r Council grants . Volume three is a monograph on the it is obviously easier for a prose writer to estimate th e work of the landscape photographer John Blakemore , time, and therefore the subsidy he will require, i n and also of Thurston Hopkins, the third monograph o f order to complete his current project . Poetry, on the the series produced in association with Gordon Fraser other hand, is both a complete way of life and a part-time activity, and there is no firm evidence to (For a detailed account of expenditure on the Visual suggest that a poet is encouraged to write more or Arts, see pp 70 to 72. ) better poems by being offered £2,000 . Nevertheless a number of grants were made to poets in the hope tha t they would thus be enabled to continue to produce poems . Guarantees against loss were offered to Literature coftimercial publishers, in respect of books of literar y interest which were not commercially viable, and a Literature, still predominantly a non-performing art, number of small, non-commercial presses were give n has fewer organisations queuing up for subsidy tha n grants towards the production of books of ne w music and drama, and so a large percentage of the verse. allocation for literature went to writers and publishers . Those few organisations to receive subsidy included Grants continued to be offered to literary magazines, the book clubs for new fiction and poetry (New Fictio n and details of these will be found on p 73 . Although Society and Poetry Book Society) as well as th e most of these magazines have a circulation of no mor e National Book League which does such excellen t than 4,000 copies, it should be borne in mind that promotional work in the cause of literature . this figure is three or four times that of such highl y influential literary magazines of the past as Scrutiny The problems of the Poetry Society attracted muc h (1,500 optimum), New Verse (1,200) and Criterion publicity during the year, and the Council appointed a (500) . The continued existence of literary magazines Committee to investigate its workings, under th e is vital to the health of literary publishing in general , Chairmanship of the Council's vice-Chairman, Si r for it is from the pages of these small-circulatio n John Witt. Sir John and his colleagues found that th e magazines that many of the novelists and poets of th e work of the Poetry Society was seriously handicappe d future emerge . by internal dissension and came to the conclusion tha t the functions of the Society could be more efficientl y A working party on community bookshops was set u p and harmoniously performed by an organisation which with the object of establishing new bookselling outlet s was not basically controlled by its own members . for contemporary fiction and poetry, and th e Nevertheless, the Witt Report did not recommen d publications of small presses . The response to thi s immediate withdrawal of subsidy, although it note d stimulus has been more than satisfactory : new that the Arts Council's Literature Departmen t bookshops have been established in three regional arts already conducted a number of poetry activities whic h centres, and in Tower Hamlets, a region of East to some extent supplemented or even duplicated those London notably lacking in bookselling outlets . of the Society. (These are listed in the Report which i s Assistance has been given to enable a Mobile Booksho p available, free, from the Arts Council .) Instead, it to continue a valuable service to schools and village s recommended a continuance of subsidy, subject t o in areas of Lincolnshire lacking any other source o f one overriding condition : that there should be an en d books; and funds granted to Southport Arts Centre t o to the internal strife within the General Council of th e install an experimental book-display unit . The Society. If, by the autumn of 1977, the Arts Counci l progress of this project will be keenly watched : its considers that the management of the Poetry Societ y success could be the answer to the problem o f is still unable to present the tolerant and reasonabl y establishing bookshops in arts centres, theatre foyers, united front necessary to ensure the efficient etc. on the most economical basis . Applications fo r performance of its activities, then the Council wil l assistance to bookshops will continue to be encouraged withdraw financial support from the Society, as at through Regional Arts Associations and the Council' s 1 April 1978. regional officers . 30 Touring

Among directly provided activities of the Department postponement of the scheme was perhaps inevitable ; are the Writers' Tours, still much appreciated in th e although enthusiasm for and confidence in the pla n regions, and the anthologies of New Poetry and Ne w remain high in all quarters . Stories, now in their third year and well established . The volumes are published in both hardback an d Other projects which were affected were mainly in th e paperback editions, and both editions have field of capital expenditure on theatres . It is achieved very satisfactory sales, the first volumes o f disappointing to report that no way has yet bee n each being now out of print . They have also been, in found of providing either Manchester, Bristol or general, very favourably reviewed . Southampton with theatres better equipped t o serve the companies who play in them . The Council's scheme for Creative Writing Fellowships , However, small but significant improvements hav e which was established in a modest way in 1974/75, has been achieved in several centres, notably Oxfor d developed substantially this year . Thirtee n and Ipswich ; the latter instance resulted in the firs t Fellowships have been funded up and down the country performances of ballet by a professional company i n at universities, polytechnics and, an extension to th e the city since 1957 . One major scheme was initiated . original concept, at the City Literary Institute's Centr e Through a combination of circumstances it for Adult Studies in London, as well as at Milton unexpectedly became possible for the City o f Keynes Development Corporation . These Fellowships Nottingham to embark on a full scale restoration o f provide both a means of help for creative writers the Theatre Royal . When the building re-opens i n (novelists, poets and playwrights) and also a contributio n December this year it will provide the East Midlands to the cultural life of the institutions to which th e with a beautiful and superbly equipped touring theatre . Fellows are attached . On the revenue side of the growing collaboration wit h The Literature Department's concern with educatio n local authorities, continued grants ranging fro m has continued in the development of the Writers i n £30,000 to £280 were offered for work by nationa l Schools scheme . The subsidy available for the scheme companies in the regions . In the year which saw the has been increased for the benefit of schools an d publication of the Redcliffe-Maud report the evidenc e colleges in the regions, which can now be reimburse d of slow but steady progress in this field is encouraging . for the travelling expenses incurred by visiting writer s at a time when the increased cost of travel was proving The year also saw the initiation of two development s prohibitive. which were themselves significant but which als o could not have happened without the support of th e (For a detailed account of Literature expenditure , local authority concerned . The West Midlands County see pp 73 to 75•) Council agreed to support a plan under which the Welsh National Opera would make Birmingham it s second home outside Cardiff ; the company plans t o pay four visits each year and to exploit to the utmost the opportunities offered to establish a significan t Touring presence in the region. The scheme will start in the autumn of this year. The second project involved a For touring, 1976/77 was a year of waiting for the collaboration between the Royal Shakespeare worst to happen ; it involved certain agonisin g Company, Tyne and Wear and, for the first time in th e uncertainties whose resolution could radically alter touring field, the English Tourist Board, so that th e the traditional pattern of touring. Royal Shakespeare Company from Stratford coul d play four major productions in Newcastle over a fiv e It was the year in which the effects of fierce constrain t week period . The main season played to 97 per cen t on local authority spending were first felt and capacity and the additional work undertaken by the throughout it there were regular prophecies of fa r Company in a variety of places proved equally worse to come . The first casualty was the plan for popular . The success of this scheme and the enthusias m English National Opera to establish a company in th e already generated by the opera company plans fo r autumn of 1977 in Yorkshire for which commitment Birmingham and Yorkshire suggest that part of the would have to have been made in the early summer o f answer to the acute problems of the rising costs of 1976. In the prevailing financial climate touring may be in developing forms of regional 31 4rts Centres

associations for national companies . The Council an d Arts Centres its officers will be examining the implications of suc h associations very carefully. When, in 1946, the Council published a small bookle t entitled `Plans for an Arts Centre', only a very few such In general, the lyric companies consolidated thei r centres were planned. This year, the Council publishe d touring programmes encouragingly and, where th e its first Directory of Arts Centres and it showed tha t right formula has been established, as in the case of the list had now soared to over 130 . The last fe w Glyndebourne's autumn tour or the Royal Ballet' s years have seen an average of nine new arts centres recent Liverpool seasons, there have been outstandingly open each year . successful results. Throughout, the companies have had the support of the Council's Marketing This extraordinary growth rate continues, despit e Department and its regional Marketing Officers . A serious cut backs in local government expenditure, an d growing awareness of the need to sell performance s is only sustained by the fullest co-operation of the local effectively is noticeable on all sides ; for example, the authorities and the Regional Arts Associations who , opportunity has been taken by both companies an d even more than the Council, are deeply involved i n theatres to exploit the credit facilities now available for funding this area of activity . booking tickets by telephone, using a credit card . This can be an invaluable help to those who live some The Arts Centre everyone has heard of is the distance from a theatre. Institute of Contemporary Arts (the `ICA') . When, in 1950, Sir Herbert Read spoke at the opening of the In drama touring, perhaps the most significan t ICA's new premises in Dover Street, he described the development of the year was the rationalisation and ICA as `an experimental laboratory where a ne w increased use of the Council's Small Scale Dram a vision, a new consciousness is being created '. This Touring Schemes . These extremely important role was always likely to lead the ICA and those wh o projects are mounted jointly with the Regional Arts support it into areas of controversy, and this year has Associations and Arts Centres, and throughout its proved no exception . From a programme of more tha n planning the Touring Committee has placed grea t 100 events, one exhibition especially provided materia l emphasis on the encouragement of the schemes . The for press attention. (This is discussed above). results have been so good that, although the amount o f money allocated was raised by £30,000 (100 per cen t During the year, John and Molly English, wh o increase), the schemes were oversubscribed in all areas opened the Midlands Arts Centre in 1964, retired . and the momentum has already created the sam e Their contribution to the arts centre movement an d situation in the coming financial year . Apart from thi s their exceptional enthusiasm for work specially there were welcome signs from the National Theatr e created for young people will be remembered b y which led to a highly successful tour of Hamlet, thousands. Blithe Spirit and Playboy of'the Western World. Discussion with the National Theatre leads us to believe that now that the building is at last open it wil l be possible to plan more rationally for the future . Community Arts The year also saw a welcome increase in the Council's collaboration with certain managements prepared t o The Community Arts Committee has followed th e mount single tours with guarantees from the Counci l funding policy of support for locally based projects or which led to involvements in, for example, Jonatha n individuals working on a long-term basis with Miller's outstanding production of The Three Sisters, particular communities, complemented by support fo r Macbeth starring Dorothy Tutin and a ver y touring groups visiting localities for short periods t o successful production of Equus from Travelling stimulate existing community arts schemes or t o Playhouse. enable communities to initiate them.

(For a detailed account ofexpenditure directly attributable Community arts activity is still largely in urban area s to Touring, see pp 69 to 70 . This does not include the but the Council's work has been complemented by th e cost of touring programmes undertaken by many increasing involvement of Regional Arts companies listed under Music and Drama .) Associations in assessment and funding. Two 32 t ommunky Arts in Birmingham : the• new Trinity Centre for t :ammunity Educatio n

In order to assist the artists N~orking in this field, a nu•mher of staff %eas appointed during the 'car to h e resp,Fnsiblc for the handling of their applications, and r he Council has decided to reconstitute the Specia l Ipplications Committee, set up in the earl% part o f

1970, The I'tutciion of this Committee N% ill he ur ofli r r he Council and its Panels an informed assessment o f any application that sloes not fall 46% lously xithin the sphere of a single specialist panel .

I,socianwis have conununir% .111, IMM+, and wher s llayc extended the brie) of I;cncr d arts panels to includ e Community Arts. This imohenuent is vital to plannim, FIthnlc Arts the de% olution ofcommunity arts . "I 'he signatories undertook in the 1 Ielsinki agreemen t 1"Apansion in community arts activities has attracte d ` to seek to dcyclop the necessary conditions for migran t more artists to 4kurk in the contnuutity . This has %%orkers anti their families to prescryc their links «it h highlighted the need for additional training; I'Or artists their national culture, and also to adapt themse1%es t o in the necessary skills of the'animateur '. their new cultural environment '. The .Arts Counci l jointly %yith the ( iulhenkian Foundation and th e The Council has been concerned about ho" communit y Community K'clations Commission sponsored a arts should be assessed . The Community art s report by Nascent Khan on the arts of ethnic minoritie s Committee 's assessment of procedures is based o n in Britain. The title, The .1rts B wain l~neires, indicates the belief that community arts share some ofth e Ms. Khan's sic A that the probicros ofethnic qualitative standards attached to the traditional art s minority arts in Britain derived from neglect . The % but also, include community- development sautes _ lacked premises to rehearse in and back-top tacilinc s assessment is concerned not only tyith the products o f like transport and costumes . There is insufficien t community arts projects but also "ith their impact o n inlormed knots ledge about them and they are no t a comnluntty and the response to the opinions an d aClegUatcly accepted %yithrn the cxrshng arts structure . values of the community . ?Its. Khan said that the culture ofthccotnttry oforigi n usually remains highly important to the second (For a detailed account of direct expenditure o n gCtteratiott of immi^rant people and that they identify Cornntunity _4rts, see pp 76 to ii. ) a ith it much more closely than %%ith the traditiona l arts of the United Kingdom .

( )n the other hand British culture is not hornugcncou s and has akyays gained and dcyclopcd by absorbing and Performance Art responding to nett' Influences . Performance art, or visual art which Involvt:s some Many ethnic arts have contrihurcd variety, colour att d measure of performance by the artist before an rice~ dimensions, especially at local community lcycl , audience, is a form %vhich has become popular in recen t for many people . This is all aspect of multi-racia l years, at least with practitioners of it, ihnot. Kith Very society that ought to be encouraged . Unless it is large numbers of the public . The Council cominued encouraged, ethnic art in Britain is likely to decline . during the year to subsidise performance art and other multi-media activities : wurk of this kind ofte n The Council %%elcomed the report and after considerin g provokes responses either of intense enthusiasm or of it decided to contribute ,(;5,1101) to the establishment o f tyholchearted disapproval from its audiences, tyhich a 1.4inority Arts adyison- Scryice (M .kaS). 'Phis are generally small . Subsidy has been offered t o service quickly organised regional conferences o n groups anti individuals to perform in streets and pubs , ethnic arts, started a monthh nc%%spapm organised on beaches, ai lestiyals, in galleries and theatres al l tours of indian musicians and acted as a li.ely source over the country . ofcontacts, information and advice . 33 Festivals

Festivals Housing the Arts Altogether more than 250 festivals with professiona l The economic situation and problems associated with i t artistic content took place throughout the countr y dominated the year under review. The Government during the year, many of them in receipt of help fro m reduced the Council's level of spending on housing Regional Arts Associations to whom subsid y the arts by 60 per cent in the middle of a rollin g responsibility has been progressively transferred i n three-year programme . Whilst the Council accepts recent years . that, if a cut has to be made, there are sound reasons for imposing it on the capital rather than on the revenu e Fourteen arts festivals received Arts Council grants . side, the severity of the actual cut and the arbitrary way These are listed in Schedule 3 of the Accounts, togethe r in which it was imposed have probably had a far mor e with festivals devoted solely to music . (Drama and damaging effect than the Government intended . literature festivals are shown separately under thei r Effectively the Council is now unable to take on an y respective departmental headings listed in Schedule 3.) new projects, at least for the time being, as it will hav e There was a record attendance of more than half a to use all of the funds available to ensure that those million people at the 12 major arts festivals in Englan d schemes already started, or where commitments had alone. With but a few exceptions these festivals are previously been given, can be completed . thus highly successful in the size of public they attract, which is in itself a compliment to the quality of the Inevitably, other contributors are also finding i t performances and other events they offer . At the sam e increasingly difficult to meet their quotas, and whilst time, each of these festivals is individual in its pattern , there has been some levelling off in tender prices, artistic style and impact, and often the result of keen costs can still go up faster than money can be raised . local enthusiasm and effort. For a comparativel y There have been many cases of public appeals failing modest injection of Arts Council subsidy, a tremendous to meet their targets . Where money has come in it is amount is often achieved through local involvement usually in the form of seven-year covenants, causing and interest - often by groups and individual s serious cash flow problems and a consequent need fo r who might not otherwise be reached by arts bridging finance which can only be secured at a provision . punitively high interest rate . There are very few projects that can get off the ground without a realisti c Local authority contributions have, with one or two contribution from the local authorities concerned, bu t disappointing exceptions, continued to increase. local authorities, especially in the rural areas, have been Moreover, a festival town or city can often supplemen t badly hit by changes in the Government Rate Suppor t its programme by a special contribution from it s Grant system . theatre company, orchestra or art gallery which is already, and separately, subsidised . The generally high In spite of all this, there are still plenty of application s proportion of box office income is in itself indicative o f and there have been some success stories. The most the public appeal of these annual events, many of striking of these is the new Salisbury Playhouse , which take place in the country's most beautifu l completed in November 1976, ahead of schedule, settings, and often provide an occasion and a venu e within budget, and with a staggering £250,000 raise d for the first performance of new and potentially excitin g by public appeal which enabled it to open free of debt : work. These are the major festivals in receipt of direct an altogether unprecedented record . The new Arts Council subsidy - festivals that with only two o r Bromley Theatre, started several years ago, opene d three exceptions are members of the British Arts this year and a substantial remodelling at th e Festivals Association . Everyman Theatre in Liverpool is nearing completion , whilst it is hoped to start work soon at Ipswich . (For a detailed account of expenditure on Festivals , However, these may well be the last repertor y see pp 75 to 76 .) companies to be rehoused for many years. Most of the new developments now are arts centre s and other small scale projects . It is interesting to note that, of the 133 centres listed in the Counci l's recently published Directory of Art Centres, 73 have benefite d

34 Training

under the scheme, and 45 of them were brought into Training being with capital help from the Arts Council . What is disappointing, particularly in view of th e In training, the emphasis during the past year has been recommendations in the Arts Council's 1961 report o n on a careful assessment of future plans and priorities , Housing the Arts in England, is that only ten of th e so that any consequent need for funds could be forecast projects aided under the music heading during the last well in advance . It was generally agreed that, while th e twelve years are halls capable of accommodating a ful l existing schemes for full-time training should continue , symphony orchestra, and that only four of them are the emphasis in future plans should be on in-servic e new buildings . In fairness to the Council one should training, not only because in a time of hig h add that there have been comparatively few unemployment it was sensible to provide trainin g applications for concert halls, understandably in the which people could undertake without leaving thei r case of new halls, but perhaps surprisingly in the cas e employment, but also because there was a real need for of improvement schemes . training among those in employment which the longe r full-time courses could not satisfy . It was decided Major new buildings of any sort under constructio n therefore that the Actors Bursary Scheme, th e now are few and far between and have generally been provision of short Administration Courses and th e promoted by local authorities . Several of them are on a In-service Bursary Scheme for Administrators, the large scale at an average cost of over £3 million apiece . Designers and Technicians and Stage Managemen t With two notable exceptions, however, the Bursary Schemes, and the scheme for Associat e authorities concerned have been all too ready to cu t Directors, should all be expanded as far as fund s corners and `save' money by not taking proper advice, permitted . with the result that the ensuing building, whils t desirable in concept, is sadly deficient when it comes t o The existing full-time training referred to abov e doing the job for which it was built . These authoritie s consisted of the longer full-time courses or schemes have discovered to their cost that it is a false economy for trainee theatre or opera directors, for traine e to save, say, £30,000 on consultants' fees on a £ 3 designers, and for trainee technicians (under the million job if it then costs them ten times as much to direction of the Association of British Theatre delay building work and carry out expensiv e Technicians), and the two long Arts Administratio n modifications, only to achieve a compromise solution , Courses, the one-year postgraduate Diploma Course at a later date . at the City University, and the Council 's Practica l Training Course . The Committee recommended tha t Perhaps not enough is known about the existence of ' these should be maintained at their existing level, bu t theatre consultants . In the UK the majority of the m subject to close scrutiny of the subsequent employmen t are members of the Society of Theatre Consultants. prospects of their `graduates '. Experience has show n The Society was founded 16 years ago and its members , that, provided the selection of trainees is done wit h many of whom are internationally respected, work to a n great care, and a watchful eye is kept on numbers , accepted code of conduct and scale of fees. Advice is technicians and administrators find it relatively easy to given not only on theatres, but also on building , obtain suitable posts after their training has bee n adapting, or converting, concert halls and arts centres . completed. In the fields of design and direction, th e This can range from feasibility studies, architects' employment situation is more difficult, but here th e briefs, general and detailed planning and technica l verv small numbers trained annually (around six i n installations, right through to management consultancy . each case) reduces the possibility of their being No important arts building should expect to receive unemployed for too long afterwards. Arts Council support unless such advice has been take n and followed from the outset . In January 1976 Mr G . Laurence Harbottle becam e Chairman of the Council's "Training Committee, o n (Details of the Council's expenditure and commitments the retirement of Dr Hedley Marshall . Dr Marshal l on Housing the Arts are given on pages 78, 79, 100, 110 , had most ably steered the Committee through it s 119 and 120 of the Arts Council's accounts.) first two, formative, years . The Council is mos t grateful to him .

35 Research and Informatio n

Research and Information Marketing The research and information section was re-located i n Advice and help is increasingly being given to the more spacious accommodation in summer 1976 and its Council's clients in planning their marketing an d small reference library is now open, by prior publicity activities. Progress is being made with the appointment with the information officer, to al l Council of Regional Theatre in the preparation ofa interested in the organisation and development of the manual to give practical guidance to new theatre staff subsidised arts . on specific aspects of marketing and publicity. The first group of topics for publication in 1977 are : Through the bi-monthly Arts Council Bulletin, the marketing, press relations, advertising copywriting, constantly up-dated Guide to Awards and Schemes, the mailing systems, design, print production and ticket relatively new Arts Documentation Monthly, - a select selling to parties. The manual will also contain cas e listing of arts articles abstracted from periodicals - and history information from theatres who are successfully the occasional Arts Council Research Reports, the applying particular techniques. section disseminates information for the benefit o f Council panels, committees and officers, client Market surveys of visitors to the Arts of Islam an d organisations, regional arts associations, loca l Sacred Circles exhibitions at the Hayward Gallery an d authorities, arts administrators and researchers . The to exhibitions at the Serpentine Gallery have helped i n section is compiling an extensive information bank on publicity planning . Efforts have been made to encourag e arts centres, audience surveys, parliamentary legislatio n schools visits to exhibitions at the Hayward Gallery . affecting the arts, UK and international art s organisations, and the cultural policies of selected The organisation set up in Birmingham in 1974 durin g overseas countries . Work on a catalogue of library the Arts Council's special two-year marketing project, stock has commenced. BAS Information Ltd, continued to develop its selling and publicity activities . This company is a The need for precise up-to-date information in the art s consortium of Birmingham's seven major subsidised becomes increasingly apparent, and during the last si x arts organisations and West Midlands Arts . It runs th e months of the year the section responded to over tw o Birmingham Arts Shop, which achieved during th e thousand enquiries from the public. year sales of £71,797 for tickets for West Midland s theatres (a 44 per cent increase on the previous year ) A Directory of Arts Centres, published in November and sales of £72,484 for posters, stationery, crafts , 1976, was very well received and much work went int o toys, etc. (a 37 per cent increase) . the preparation of Three Arts Centres, a report on research at South Hill Park, the Gardner Centre and The Arts Council shop in Sackville Street, London W 1 Chapter, Cardiff, and The Arts and Museums 1974-75, continued to increase its sales of publications on th e an Arts Council Survey of Local Authority Spending . arts, books, art reproductions etc . This was due partly to sales of an increased number of gallery and museum Discussions proceeded with the Computer Unit at th e publications, which are not easily available throug h City University to computerise the dozens of audienc e normal bookshop channels . and box-office returns received and processed eac h week by the Council's officers . This will be going ahead in 1977, as will the production of regularl y ROY SHAW up-dated inflation indices which are essential to the financial planning of the Council and the majo r subsidised organisations. Other research supported during the year included a study of industrial relations in the performing arts being conducted in the School of Management Studies at the Polytechnic of Central London and an enquiry into the distribution problems of those using video-tape for arts and community purposes .

36 Fuller details are given in the Scottish Arts Council' s own Annual Report, published separately . Scotland

Introduction A report on the year 1976/77 is necessarily historical . From recent pronouncements and long-term estimates , It was a year of artistic enterprise beset by adminis- it is now clear that the Council can expect no increase trative and financial uncertainty . in its allocation in real terms for the next few years . The implications of `level-pegging in real terms' ar e On the credit side, many orchestras, companies, art s serious and sobering . First, the assumptions on which centres and artists did exciting work of high standard . such a guideline is based presumably mean that Some consolidated achievements, others broke ne w Government allocations to the arts will keep pace wit h ground. Some went out to reach new audiences, other s the rate of inflation in the arts, not in some inappropriate increased sales by selling subscriptions to occasiona l index. Secondly, grants from the Government or th e customers. Individual artists found the going no easier , Council grants are only part of the total income - but several received more national and even expenditure equation of client organisations, so even i f international recognition . Generally, demand for the these grants retain their value in real terms, artistic arts as reflected in ticket sales and attendance figure s organisations will remain viable only if income from held up, in some cases increased . The Council's box office earnings, local government, and the privat e allocation increased marginally in real terms, enablin g sector also retain their value in real terms. There is it to finance a few new projects and some limite d evidence that this is not happening. Thirdly, the development. One heartening sign was the growin g assumption is that the same amount of money in real awareness of the role of business support for the arts , terms will sustain the same amount of activity, wherea s particularly through sponsorship . in fact - partly because it is the Council's job t o encourage the arts - there are always new people wit h On the debit side, continuing economic difficulties - new ideas and plans for new projects and activities. inflation, cutbacks in public expenditure, economies b y groups and individuals - caused uncertainties, shortfal l The Council therefore is faced with a difficult choice : in expectations, and curtailment of activities . whether to try to sustain all existing clients at existin g Understandably, economy favoured caution rather tha n levels of activity and thereby to say `No' to all ne w risk-taking in planning programmes. Some initiatives and so stultify enterprise ; or to finance a fe w organisations got into financial difficulties . Local new activities, knowing that this can only be done a t Government, whose support of the arts is more the expense of some existing activity. There may be widespread and crucial than is often realised; tried to some small degree of leeway by natural wastage - some maintain its commitments in the face of mountin g activities cease naturally, not only for want of money . pressure to economise. Though the cutback in its grant s But the implication is clear : no body has the automatic to the major musical organisations received mos t right to subsidy for ever, no body can any longer expect publicity, the effect may well be most damaging always to expand, any new proposal will need to in less prestigious areas such as Theatre-in- withstand the closest scrutiny, and everyone will nee d Education. to use the utmost skill in saving costs and making both ends meet. Building programmes were seriously affected . Some new projects planned in more affluent days opened - the new Eden Court Theatre at Inverness is the outstanding example . A new arts centre in Orkney was proposed and the new arts centre in St. Andrews took a Finance step nearer completion. But the Government's cutback in the Housing the Arts Fund, and its pressure to Inflation has remained the single most important reduce capital expenditure by local government , factor affecting finance for the arts. What appear to b e complicated not only long-cherished plans for major quite generous increases from year to year are ofte n new theatres in Dundee and Pitlochry, but also modes t standstill grants, in some cases reductions even . proposals for several small arts centres and rehearsal Variations in the rate of inflation and the late bases for two orchestras, and dashed the hopes o f notification of grants has rendered planning in advanc e promoters of new schemes not yet funded . The Council unrealistic and budgetary control difficult . The can consider and note new capital proposals, but canno t resultant uncertainty has made it prudent not to take make any new financial commitments for the tim e risks, and even so, several organisations have found being. themselves in financial trouble . 37

The I leatherbank lies% Hook van, which q received a Scottish .Arts Council grant to operat e a summer sales tour kw the Scottish smal l publishers, selling its wares to Sauchichal l .~vII~`~4iw Street, 6135gO w

1 dozen large organisations, mainly in the perfitrming 1 dir arts, .~till dominate the Council's budget, but the tw o ~~ n sl F;rchcstras arc peripatetic and the opera anti balle t 0pill panl tour extensively, while the theatres and arts t:cntres are quite well scattered geographically. \e .crtheless the Council had to make a special eflirrt tl, help the visual arts and literature, the small club or touring group, the smaller place and the indiyhlual . During the year the Council received about 85 0 applications and ga%e about 625 grants . A total o f iit 1976'77 the Scottish Arts Council receiver] a basi c ;(;11(x,0011 was given to individual artists compare d grant off+32m for rcyenuc purposes, an increase of with ,x.93,000 the vicar before . :Many more were hellxd 39.4 percent on the prc. ions year's k,3- I m. (For the through the ( :rnnncil's grants to orchestras, companies , current year the increase is only 14•6 per cent .) I n theatres and arts centres. addition it receited an extra k.90,400 f iIr specia l purposes and X128, 500 for I Iouaing the Arts projects. As the year ~tore on, it became apparent that severa l Scotland's slice of the l3ritish cake, excludin g organisations t%ert: projecting uncovered deficits. Sonic supplementaries, %%as 12 per cent. According t o Of"these were modest in relation tip turnuyer, others population, Scotland would he entitled trr 9 .7 per cent "ere nwre serious. There were those like Eden Cotnrt w here a nett theatre was breaking net% ground . There The Government made it clear at the outset that i t were projects %%here income carried at the Nix office o r %%ould give no supplementary grants as it had dome i n subsid} from local government full short ofexpec- the previous two %cars. hor this reason the Council fel t taturns ; others .%here expenditure• was greater tha n it prudent to retain a small unallocated resent against estimated . the possible deficits incurred by clients later in the year . Scottish Opera faced the most serious situation . Though its box office was health%, it spent more tha n -l usic• 6W,439 1 3 its subsidies tearranted and Itwal authority suppt in fell Opera 1,155,-}37 25 short of expectation . The revenue problems of running Dance 455,500 1 0 a nv%i theatre as well as the existing company, her e I lranta 887,002 1 9 compiwrided by o%cr-expenditLire on modernising th e Stage 1 61,043 1 Theatre ]loyal and shortfall tin Fund raising . With Art 357,790 8 hcayv loans to service at high rates of interest, and a n Filrtns 14,92 5 estimated arcumularetl deficit of Z,200,000 by 3 1 I .itc•rattire 126,902 3 March, the company had serious cash 11(m problems , Uesti,vals ?30,MI y partialIN cased by S AC: ad%ancnng its grants h% sc%cra l Projects, :Art Centres and Clubs 27~,GU5 h months. in these circumstances the Council offered a Operating Costs 25(,,21+39 0 +race-for-all extra 100,000 (half of hich -was provide d Capital Expenditure 04,937 1 by C(113) on condition that the outstandin g .4,486,470 97 balance is eliminated of er the next three years and that 1Iousing the Aris 128,500 3 Scottish Opera 's. touring commitments in Scotland arc maintained anti more equitably distributed J.4,014,970 1 f ll l .

These amounts and percentages should he treated t%it h caution. There are reasons w by art forms arc no t equally costly . There is no reason a h% the Council 's I IO(t41ng the Art~ help to projects should he a fixed part of their costs . The categories are not mutually ex-clusiye . Govern- This Fund is operated on a British basis in such a %%a% ment money is channelled into the arts via tithe r that each year all additional sutra I'IIr each of three year s agencies, notably local go%ermttent, education, ar t ahead Wray he contnnitted, and cash is paid i n galleries, and libraries. instalments ~% hen needed . The Government's sudde n 38 Scotland

cut of cash available from £ 1.15m to £0. 5m in 1977/7 8 successful, and the community cablevision project i n (and likely to continue at this rate thereafter) mean t Vale of Leven achieved a great deal with limite d a serious setback to building projects in Scotland . resources in a short time.

Grants already committed for new arts centres a t On the other hand there were shortcomings . The Strathaven, Edinburgh and St . Andrews, a ne w project was conceived in affluence, born in uncertainty , theatre at Cumbernauld, and extended premises for th e and ended in austerity . Two years is too short a perio d Traverse Theatre Edinburgh, can still be paid fairly to set up a structure, appoint staff, get going, achiev e quickly. But payment of commitments to the Scottis h results, and wind up . Local government reorganisatio n National Orchestra and Scottish Philharmonic Societ y at half-time brought its own problems, not least the for converted premises for rehearsals, has bee n feeling that the new authorities had not been consulte d delayed two or three years, creating serious cash-flo w and were not fully committed to the scheme. problems. The Council's ability to discharge its commitments to the new theatre in Dundee, which is Indeed although local government was heavily interdependent on local authority support, is s o represented on the Board, the District Council wer e seriously affected that the Council has had t o critical of anything the Experiment did which appeared guarantee to meet its fair share on time out of revenu e to conflict with the Council's interests . Whether the funds in order to keep its word . The Council's moral Experiment was tactless or unlucky, the fact is that no commitment to Pitlochry for its new theatre has mean t local authority wanted to continue the Experiment or that £300,000 has been earmarked in the Fund for thi s fund any continuing part of it . purpose, though no promises can be made about whe n and how it can be paid . It is difficult to escape two conclusions. First, that the quality of life of any large community is determined b y parents, schools, houses, jobs, health, and the natural and man-made environment over several decades if not generations. Attempts to improve it, with self-help an d t a sudden injection of money, however sincere an d Quality of Life Experimen energetic, are bound to be little more than cosmeti c The two-year experiment to improve the quality of life in two short years . in West Dunbartonshire ended in August 1976 and was wound up in the autumn . The Council which had Secondly, encouragement of the arts in Britain sinc e contributed £ 100,000 to the total cost of £264,000 , 1945 has been based on the principle of nationa l considered the Experiment's final report . agencies responding to local initiatives, or at least helping to stimulate them . The Experiment, howeve r The aim was to see whether it was possible, by poolin g sensitively planted, was a seed sown from the centre . national and local resources in support of a coordinate d The idea was accepted locally, but there was not a approach to the arts, sport, recreation, leisure and th e binding commitment to it . This is a criticism, not so environment, to enable the community actively t o much of the people who tried to make it work as of th e participate in decision-making on a broad programm e concept and its feasibility . It seems an expensive way of to improve the quality of life of the 75,000 inhabitant s proving negatively what has long been a cardinal of the area . Independent evaluation was an essentia l principle of Arts Council policy . part of the Experiment .

While a final assessment must await the official repor t of the four experiments in Britain, the Council felt tha t a great many useful ideas and activities had bee n Regional Development explored and undertaken by the project. Many of th e smaller projects were initiated or grant-aided by th e In its Annual Report two years ago, the Council Neighbourhood Groups . Several major art projects , explained in some detail the reasons why it set up a for example a .literary tour, a community drama project, Regional Development Enquiry and appointed a and the arts bus, obviously evoked a response and consultant to undertake the work . In 1976 this wor k satisfied a need. The appointment of a television came to fruition when the Regional Development activist and a community arts worker seemed partly Committee 's Report The Arts in the Scottish Regions, 39 Scotlan d

written by Anthony Phillips, was completed an d arts policy, can take part in decision-making locally . submitted to the Council . Though the Enquiry was Several means were suggested, for example, the loca l undertaken concurrently and its findings produce d arts association and the local arts advisory committee. independently, the Report considers in the Scottis h context many of the issues dealt with by Lord On the central issue of SAC policy, the Report Redcliffe-Maud in his Report Support for the Arts in endorsed the Council's national role both in advising England and Wales . the Government and in supporting the professiona l arts through national institutions and organisation s The Scottish Enquiry was initiated by the Council for providing a national service . But it suggested that `a three reasons : the growing concern that people who liv e high proportion of future real increases in resource s away from the main centres need better provision fo r should be allocated to ensuring wider geographical an d the arts ; the possibility that reorganised local govern- social distribution of the professional performing and ment would be able to deal coherently with the need s visual arts and literature'. It went on to recommend th e of larger defined areas ; and the Council's need to find Council to play a more active role in partnership wit h new partners with whom to share the administrative local government, particularly in helping each loca l and financial burdens - and, one might add, scarc e authority to formulate an arts policy for its area . resources of all sorts . Indeed the most concrete proposals related to th e The terms of reference of the Committee of Enquiry increased emphasis placed on SAC's providing a servic e therefore laid stress on the Council's duty to increas e to local government - a service of liaison, discussion , the accessibility of the arts : `to examine ways in which research, advice and action . This service is not entirely the Council, in conjunction with local authorities an d new, for the Council already has many contacts wit h others concerned, can most effectively assist in the local authorities. But the Report suggests that thes e development of the arts and improve its service to the contacts should be regular instead of intermittent, arts, artists and the public on the ground throughout coordinated instead of piecemeal, and directed towards Scotland'. The Committee, under the the chairmanshi p defined objectives instead of expedient . of Lord Balfour of Burleigh, met eleven times , received important evidence, made several visits, an d The implementation of the Report cannot be done b y considered in detail information provided by the SAC alone ; policy can and must evolve in discussion consultant. and collaboration with local authorities and loca l people . The Council felt there were real difficulties The Report is a long one. It does not contain a master- and dangers in grafting functions defined by territor y plan, nor is it a manual . It is a discussion document on to an organisation which for good reasons has so fa r surveying the major issues facing policy and publi c defined its functions by art form . Regional development provision for the arts in Scotland today, and it was is not an extra, nor is it an alternative, to music, drama welcomed by the Council as a valuable contribution to or art, but an essential element of policy in each . The the continuing debate on the role of the arts i n Council therefore decided not to create yet one mor e contemporary society . advisory committee, but to charge its central Financ e and Policy Committee with responsibility for regional The Report rightly insists that the job of improving an d development policy . To carry it out, a new full-time developing provision for the arts cannot be accom- post of Development Director has been created an d plished by SAC alone, nor by the managements of art s John Murphy started work in June 1977 . organisations. Provision and policy can only evolve i n collaboration with local authorities, voluntary bodie s This is not perhaps the easiest time at which to and individuals throughout Scotland . For sound persuade local government to make its responsibilitie s practical reasons, the Report recommended that instea d towards the arts more effective, but the Council of introducing a third layer of arts administratio n believes that despite the economic difficulties - almos t similar to the Regional Arts Associations in Englan d because of them - the essential ground-work o f and Wales, the SAC should adopt local authoritie s collaboration (which is time-consuming but not costly ) (both Regions and Districts) as its direct partners i n should be undertaken now and in the lean year s support of the arts. One problem in doing this is to immediately ahead . devise a means whereby people whose voluntary enthusiasm is an essential ingredient of a successful ALEXANDER DUNBAR 40 Fuller details are given in the Welsh Arts Council's own Annual Report, published separately . Wales

devolution, far from being a hindrance during this Introduction period of artistic and financial re-appraisal, was itsel f Inflation in a direct way, and devolution less directly, an incentive to deeper examination of the objects ofa influenced the way the Council discharged it s national patronage service, although neither the responsibilities during the year under review . The Government's Discussion Paper (November 1975) nor extent to which inflation would progressively diminis h the draft Devolution Bill (November 1976) gave any the value of the year's basic grant, despite an increas e precise indication of what would happen to the Wels h of 34 per cent, was calculable, but not so the change i n Arts Council as a nominated body. But, they did the status of the Welsh Arts Council which might confirm that responsibility for the `Arts' was listed fo r follow legislation for devolution and the consequences transfer to the Welsh Assembly . of it on the Council's long-term arts policies . If the continuing exercise of re-examination of policie s The generous increases in grants from ACGB during and re-allocation of resources is to be effective, with du e the last few years not only provided each subject justice to the artist as well as to the public, the futur e committee with extra funds to meet on-going commit- role of the Council in a devolutionary situation and it s ments, but also allowed some modest growth. These terms of reference and membership, however were usually sufficient to keep in check the increasingl y determined, must be settled unhurriedly and with ver y keen competition between the Council's subject great care, not only to avoid irreparable damage to th e committees for a larger share of the annual grants, an d service established over the last thirty years, bu t within the committees the conflicting claims o f also with the view to improve that service . established and new clients . The growth of suc h competition inevitably drew attention to the historicall y privileged position enjoyed by the performing arts while they were being established throughout Wales. Art Tempting though it was for the Council to concentrate Five awards of £1,500 each were offered to artists fo r on consolidating those gains made in recent years , the production of works for public sites in Wales, an d doing so would have meant, probably, marking tim e eight awards of, 750 to aid individual development . for too long a period when other changes were takin g Two artists received awards to spend a fortnight print - place or pending. The Council preferred instead to making at the Editions Alecto Studios and seve n consider in artistic and other terms, where and how the bookplate designs and a sculpture for a Forestry service it administered could and should be developed . Commission site near Aberystwyth were commissioned . Thirty-four grants were awarded, totalling £7,271 an d The levelling off in the rate of growth and the prospec t thirty-five artworks purchased for £7,472 . After two of a change in status obliged the Council to take stock o f months working in Wales, the French painter, Olivier_ its current policies and to re-examine in detail how an d Debre, returned to mount two exhibitions under the why the Council had decided to distribute its resources Council's first International Artist Award . across the present range of activities, and the artistic implications of that spread . Writers, painters, film- Forty-six showings of eighteen touring exhibitions, in- makers, craftsmen and other kinds of individual cluding five from England and one from Scotland, artists were pressing for a larger share of the availabl e were shown at sixteen centres in twenty-two different resources and their claim had to be respected. The buildings. Fifteen exhibitions were also shown in community arts were also asking for increased support . ORIEL . The exhibition Masks presented sixty It was the Council's purpose during the year to respon d historical examples from British anthropological to as many of these as it could afford, whilst at the same collections. Six artists illustrated the Genesis myth o f time preserving what was recognisably worthy amongst Adam and Eve in The Fall. The Gregynog Press, earlier commitments. covering its history, working materials and fine examples of its books toured Wales and was also show n If there is to be a more equitable distribution of Wels h in the Craft Advisory Committee's Gallery in London. Arts Council grants across all the main kinds and levels of the arts, as well as geographically, the Council mus t The National Eisteddfod was aided in its purchase ofa continue to re-examine its policies and if necessary, re- Mero space-frame structure which provided the venue allocate its funds . The prospect of governmental for the competitive exhibition of Origins, selected by 41 Wales

Victor Pasmore to commemorate the 800th anniversar y Clwyd opened in Mold and has proved extremely of the 1976 Royal National Eisteddfod of Wales i n successful in its first year of operation . The theatre has Cardigan . Fifteen prizes were awarded, totalling three auditoria - main theatre, studio and film theatre - £2,000. and the programme uses all the auditoria continuously . The theatre has also launched its own residen t The Council published its first reference book of th e company which performs for large parts of the year , art scene in Wales : Artists exhibited in Wales, 1945- and some of these productions have toured to other 1974, compiled by Kirstine Brander Dunthorne . Welsh theatres .

The opening of Theatr Clwyd almost brings the circui t of new theatres in Wales to completion - Milfor d Haven and Builth Wells will both open during 1977 - Craft and the drama committee has begun to look mor e closely at the provision of artistic product in both In recognition of the needs of crafts in Wales, the Craft languages and to re-assess the theatre resources whic h Advisory Committee increased the grant to the Counci l are available to Wales . to enable it to expand the exhibition programme and t o commence a number of new projects . There has been a development in the growth of smal l regional companies, which have a particular job to do A meeting was held with representatives of the Craft given the scattered population of Wales . Six out of the guilds to discuss ways of increasing awareness of an d eight counties now have access to a community o r coordinating each other's activities and objectives . One theatre in education group and considerable interes t outcome has been the decision to publish the Wels h has been generated by the work of these companies . Arts Council newsletter Crufis. Two competition s This development has been complemented by the were held, followed by exhibitions of prize-winning growth in experimental theatre work, usually Cardiff- and selected entries . The first major selected exhi- based . However, an informal association of arts centres , bition of work by craftsmen working in Wales was als o known as the Standing Conference of Welsh Arts organised, creating a great deal of public interest . Centres, has come into being and besides being a foru m for discussion amongst people working in the arts i n It is only in recent years that any concern has bee n Wales, it is hoped that SCWAC will be able to extend expressed in the decline of craftsmanship. There is n o the opportunities for small scale touring in Wales so one agency in Wales with overall responsibility for the that audiences will be created in other areas for some of crafts, and with the prospects of devolution for Wales, the very exciting work which is being produced i n the Welsh Arts Council along with the Wales Cardiff. Development Agency set up an independen t Committee to 1 Clarify the current situation in Design and Crafts i n Wales - how they are financed and organised . 2 Make recommendations with a view to helping Craft Film and Design in industry in Wales . The grant from the BFI to the Welsh Arts Counci l It is hoped that the report of the Committee's findings (£ 15,000) was not related to the programme of work will be published in the coming year. which the Council considered essential even as a star t in placing film making and film services in Wales on a n equal with the other arts . Although twelve films were grant aided, many times that number were rejected either as too ambitious or because insufficient expertis e Drama or facilities were available for the successful realisatio n of the project . In 1976/77 the Drama allocation was increased fro m £593,000 to £905,000, but this increase still proved A film script competition was arranged to attrac t inadequate to cope with anticipated new commitment s applications for low cost budget films of not longer than and the erosion of the budget by inflation . Theatr ten minutes running time. Three entrants received 42 1l 'ales

The Oriel Rnakshnp

The Literature department continued to administer the Writers in Schools scheme in co-operation m the regional arts associations . It also organised it short-11th storv competition anti a +ery successful (iregyno g Press 1•:xhihition.

A new basement at the Oriel Rlrtrkshop, stackin g publications on the visual arts and children's hooks, Opened in Noventhcr, and, +vith the intention o f prizes o(productiun grants totalling Z:9?,111H). Morc extending ( )ricl's activities into the + ,allevs o f grants totalling , 6,147 c+crc ,i+en to film and video (damor,all and [i+vent,a sales van uas punhasc d makers. Equipment ++ :ts purchased for Chapter Art s during the year. Centre when a video worker anti a film worker wer e employed, and firr a group of film makers in Ilangor fo r developing hm cult lfrnttn animation Facilities . Wrexham Little Theatre anti Dincl++r and District Film titrcicty Ni ere gi%cn arrant aid tut+arils the cost of NILISIC projection equipment . Grants ++ere provided to commission twelve nets +cork s and fourteen a+vards 1i Or advanced Study t+erc oficred , Niye recordings of c ontcmporary 1 Ckk music +c cre released under the ( :nuncil's sponsorship . Literature The Council increased its grant to the 131iC Welsh Nine writers ++ere a++artled bursaries totalling Z'26,4110 tit tttphonv Orchestra to J'95,000 and six additiona l and seven others received travel grants . The Council' s placers +sere appointed . 'Che collaboration hem ce n annual Prizes, totalling t.1,70I1, %%ere presented to seven the Council and the 13130 over the past Four years has authors . The major awards of (;1,1!!11) each ++ere mad e resulted in the cxpansion of the orchestra from 44 to 66 to lor%% girth C. I'catc and Gx yn Williams firr thei r placers. Under the Council's sponsorship, concerts b y distinguished contributions to the literatures of 11 ales the orchestra are gi+cn regularly throughtnrl Waleti and , mer many years- The International 11 ritcr 's Prize fur dug to its lar-er sirs, its repertoire has bee n 1076 +v :tsa"arded to the S%%Iss author Friedric h considerably extended . Durrenmatt, echo spent a lortnight in 11 ales as th e guest ofthe Council and the University of 11 ales .

Grants total lino; ;,,34,S1N1 acre made to the seve n principal literary magazines as contributions toward s ( ?pcra towards their production costs, editors' expenses, all( ] Ices to contributors . The Council decided to suppt ON % clsh National Opera Compan y the rycekh' journal' 1 1•aurr' and to help launch The outstanding event tuf 11 elsh National ( )pera r Barddas, a magazine firr poets writing in the traditiona 's Dea l +,as the first Iiritish production outside I mctres. Grants totalling, 9,500 Acre also paid, as a n .ontit) n of !11ichacl'Cippett's The .11idsrrsrrnner .hlarria etncrgencv measure, to five children's magazines . ifr. The Contpanv's 311th anniversary ++as celebrated in it s spring season w ith nc++ production of" The SeFd rrIno A total of'420,22-i was otlered as production krauts U r . arid 11 Triivalore. I )wring the autumn Orpheus m lire the publishers of 24 new titles during the %ear . The two 1 rr,kruwrld %% as added io the repertorF, and proved principal publishers, ( iomer Press and Christophe r extremely popular ++ith audiences . Su did The l3arber ro l Da%ics, +sere given financial assistance in th e Seville in a prucluctiun by 11 illiam Gaskill, first seen establishment of Editorial I )cpartments . The Il clsh during a week's season at the Theatr Chyyd in Mol d [looks Council received ,(:?fr,}i(if) as grants towards th e p anti suhscquently placed in Ihcr+stwythand cost of maintaining its Editorial, ublicity, Design an d l lavcrford++est. ;Marketing Departments, Among other recipients ++cre the National Fisteddfird, and 7" r Acadenti Gvmrcig . A'.vt:t'Rl y I'llo+1As 43 Membership of Council and Staff'

Council Staff Lord Gibson's term of office as Chairman expired a t Mr N. V. Linklater, CBE, retired from the position o f the end of this year and he was succeeded by the Righ t Drama Director on 31 March 1977 after being in the Honourable Kenneth Robinson . Council's service for twenty-nine years, first of all in th e Regional Office in Nottingham, and from 1952, in th e Lord Gibson brought to the Council a sympathetic Drama Department in London. Starting as Assistant concern for all the arts and a capacity for shrew d Drama Director, he was Drama Director for the las t judgment. This made him an excellent leader for the seven years and made a unique contribution to th e Council and a source of wise advice to the staff, backe d developing and changing work of the Department. He by a willingness to put in long hours of work for th e will be remembered particularly for the persona l Council. He established friendly relationships wit h friendship which he extended to his colleagues and to s o Council members and staff alike, and will be muc h many people working in the theatre. We wish him missed. much happiness in a long retirement . He has been succeeded as Drama Director by Mr John Faulkner, Mr Kenneth Robinson is no stranger to the Council formerly Drama Director of the Scottish Arts Council , staff, for he was Chairman of the English National who brings to his task a wide range of experience in th e Opera for several years . He has been Minister o f theatre. Health, Minister for Planning, and Managing Directo r of the British Steel Corporation . He is at present Chairman of London Transport . Honours Congratulations are extended to the following on whom Sir John Witt and Mr Neil Paterson retired from th e Honours have been conferred in the year 1977 : Council on 31 December 1976, and during the yea r Patrick Heron, member of the Art Panel (CBE) , under review Mr Martin Esslin, OBE, and Mr Ro y Peter Moro, member of the Housing the Arts Fuller, CBE, resigned from Council membership . Sir Committee (CBE), The Marchioness of Anglesey , John Witt had been a member of the Council fo r member of the Council and Chairman of the Welsh sixteen years and its Vice-Chairman since 1970. At the Arts Council (CBE), Richard Rodney Bennett , time of his retirement he was Chairman of the Touring member of the Music Panel (CBE), Louise Browne, Committee and of the Housing the Arts Committee, of member of the Music Panel 's Dance Theatre which he became the first Chairman when the Fund Sub-Committee (OBE), Martyn Goff, member of the was established in 1965. Sir John worked extremel y Literature Panel and the Training Committee (OBE) . hard for the Council, and his combination of a n incisive mind and a generous spirit will long b e remembered. Obituaries At the end of March 1977 news was received of th e Sir John is succeeded as Vice-Chairman of the Council death of Sir William Emrys Williams, CBE, DLitt. Sir by Mr Jeremy Hutchinson, Qc. William was one of the members of the Committee for the Encouragement of Music and the Arts set up at the Mr Paterson, Vice-Chairman of the Scottish Art s beginning of the Second World War, and was a Council, had served on the Arts Council since 1974 founder-member of the Arts Council of Great Britai n having joined the Scottish Arts Council in 1967. Mr which received its Royal Charter in 1946 . In 1951 he James Morris has succeeded him as Vice-Chairman of became its Secretary-General, bringing to th e the Scottish Arts Council . At the time of their assignment the experience gained in a distinguishe d resignations, Mr Esslin and Mr Fuller chaired the career in adult education and as editor-in-chief of Drama Panel and the Literature Panel respectively : Mr Penguin Books . The twelve years during which he Esslin continues in membership of the Drama Panel. remained Secretary-General saw the steady growth i n the amount of the Council 's grant-in-aid, a Thanks and good wishes are extended to all those wh o development at least in part attributable to the series o f have retired. outstanding Annual Reports in which Sir William used his considerable literary gifts to good effect . Professor James F . Arnott, TD, was appointed as a new member of the Council . Mr Hubert Dalwood, the sculptor, was a valued member of the Art Panel when he died in November 44 Council, Committees and Panels

1976, and Mr Rollo Charles, mc, Keeper of the Council Department of Art of the National Museum of Wales , was an equally valued member of the Welsh Art s The Right Hon Kenneth Robinson Chairman (A and B) Council at the time of his death in March 1977 . Jeremy Hutchinson, QC Vice-Chairman (A and B) The Marchioness of Anglesey CBE (A ) Mr Henry Davis, CBE, died in January 1977. Since 1948 Professor James F. Arnott, TD the Council had received very generous benefaction s Professor Harold C. Baldry (A and B) from Henry Davis and his late wife to help The Lord Balfour of Burleigh (A ) postgraduate musicians, and he served on the Musi c Ann Clwyd Panel from 1954 to 1956. Beneficiaries under th e John Culshaw, OBE (A and B) * Henry and Lily Davis Fund during the year ended 3 1 The Viscount Esher, CBE (A and B) March are listed on page 127 G. Laurence Harbottl e Dr Richard Hoggart (A and B) John Manduell James S. Morris Annette Page Elizabeth Thomas The Lady Vaize y Professor Raymond Williams

* Member of the Estimates Committe e s Member of the Finance and Policy Committee (England) • Mr Culshaw resigned as at 30 June 197 7

Housing the Arts Committee G. Laurence Harbottle Chairma n The Marchioness of Anglesey Professor Harold C. Baldry The Lord Balfour of Burleig h John Culshaw Michael Elliott The Viscount Eshe r Dr Richard Hoggart John Manduell Peter Moro, CB E Art Panel The Viscount Esher, CBE Chairman* The Lady VaizeyDeputy Chairman* Keith Arnatt Nancy Balfour, OBE* Dr Stephen Bann Jane Beckett Alan Bowness, CBE* Mark Boyle Bernard Cohen Michael Compton* Frank Constantine Professor Peter de Francia 45 Council, Committees any! Panels

Dennis Farr* Photography Committee Alan Pearlmant William Feaver Bill Gaskins Chairman David Rvmer Gerald Forty Keith Arnatt Reginald Salberg, OB E Bill Gaskins* Gillian Clarke ) Hallam Tennyson Patrick George Paul Hill Clare Venables* Professor Lawrence Gowing, CBE David Hurn Hazel Vincent Wallace, OB E Adrian Henri Ron McCormick Michael White Patrick Heron, CB E Professor Aaron Scharf * Member of Dram Finance Committee Anthony Hill Chris Steele-Perkin s t Observer nominated by the Standin g John Hubbard * Peter Turner Conference of Regional Arts Association s Paul Huxle y The Lady Vaizey Ian Jeffrey Review Committee Phillip King, CBE t Observer nominated by the Standing Robert Aldou s Jack Smith Conference of Regional Arts Associations Michael Billington Hugh Stoddart t Serpentine Gallery Committee Dr Gareth Lloyd Evans David Sylvester Derek Boshier Ian Giles William Varle y Judy Marle Sheila Hancock Professor John White* Benedict Nightingal e Support Schemes for Artists Patrick Masefield * Member of Art Finance Committee t Observer nominated by the Standin g Sub-Committee David Rymer Conference of Regional Arts Association s John Hubbard Chairman Reginald Salber g Hugh Adam s Clare Venables Art Publishing Committee Mark Boyle Hazel Vincent Wallac e Alan Bowness Chairman Professor Peter de Francia Terry Atkinson Patrick George New Applications and Projects Dr Stephen Bann Adrian Henri Committee Victor Burgin Tim Scott Anthony Everit t Judy Collins Matyelok Gibbs Michael Compton Ian Giles Theo Crosb y Drama Panel Roger Lancaste r Anthony Hill Patrick Masefield Clive Phillpot Dr Richard Hoggart Chairman* Michael Raeburn G. Laurence Harbottle Deputy New Writing Committee David Sylvester Chairman* Michael Billingto n The Lady Vaizey Robert Aldous Alfred Bradley Michael Billingto n Martin Esslin Exhibition Sub-Committee John Bur y Dusty Hughes Alan Bowness Chairman Michael Deniso n David Jone s Dr Stephen Bann Jane Edgeworth, MB E Nancy Meckler Jane Beckett Martin Esslin, OBE Benedict Nightingal e Derek Boshie r Dr Gareth Lloyd Evans Ann Scott Bernard Cohen Anthony Everitt * Hallam Tennyson Michael Compton Edward Fox Keith William s Frank Constantine Matyelok Gibbs B. A. Young Peter Davies Ian Giles* William Feaver Sheila Hancock, OB E Gerald Forty David Jone s Literature Panel Frederick Gore Roger Lancaster* Carol Hogben Andrew Leigh Elizabeth Thomas Deputy Paul Huxley Ian McKellen Chairman* Ian Jeffrey Patrick Masefield Dr Dannie Abse David Sylvester Richard M. Mills Vicky Allen t Benedict Nightingale* Martin Ami s 46 Council, Committees and Panels

Patricia Beer* John Field, CBE Alan Rump Laurence Cotterel l Charles Fox* Tim Souster C. J . Driver James Gibb Maureen Dully Noel Goodwin Jazz Sub-Committee Martyn Goff, oBF. Peter Hey worth Charles Fox Chairman Ronald Har%vood* Barrie Iliffe Ronald Atkins Paddy Kitchen* Nicholas Kenyon Peter Beva n Professor L. C. Knights Gerald McDonald Tony Cash K. R. McColvi n Nicholas Maw* Dave Gelly Graham Marti n John Mayer Evan Parker Charles Monteith Donald Mitchell Art Therrien Piers Paul Read* Annette Page* Richard Williams Hilary Rubinstein Evan Parker Norma Winstone Ian Scott-Kilver t Allen Percival, CB E Jon Silkin Stephen Plaistow Opera Sub-Committee Christopher Sinclair-Stevenson* Alan Rump * Fraser Steel Tim Souster John Culshaw Chairma n Anthony Thwaite Walter Todds* Ronald Kinloch Anderso n John Cox Ion Trewin Peter Williams, OBE * Ronald Crichto n * Member of Literature Financ e * Member of Music Finance Committe e Meredith Davies Committee t Observer nominated by the Standin g Professor Basil Deane t Observer nominated by the Standing Conference of Regional Arts Association s Gerald Englis h Conference of Regional Arts Association s Eric Falk National Manuscript Collection Dance Theatre Sub-Committe e Elizabeth Forbes of Contemporary Writers Peter Williams Chairma n Noel Goodwi n Committee Louise Browne, OB E Peter Heywort h Peter Curtis Allen Perciva l Dr Philip Larkin, CBE Chairman * Walter Todds Nicholas Barker John Drummond B. C. Bloomfield Jane Edgewort h Douglas Cleverdo n John Field International Society for W. H. Kelliher Maude Lloyd Contemporary Music (Britis h P. E. Tucker Noel Goodwin Section) Dr D. P. Waley Stuart Hopps Stephen Plaistow Chairman Keith Lester Eric W. White, CB E David Cain Dame Alicia Markova, DB E Ian Carr Ian Murray John Casken Music Panel Annette Page Gordon Crosse Martin Dalby John Culshaw, OBE Chairman* General Sub-Committee David Drew John Manduell Deputy Chairman * John Culshaw Chairma n Professor Peter Evans Ronald Kinloch Anderso n John Manduell Deputy Chairma n Charles Fo x Atarah Ben-Tovim Richard Rodney Bennet t Anthony Gilber t Richard Rodney Bennett, CB E Gordon Crosse Alan Hacker Clifford Bevant Meredith Davies Barrie Iliffe Gordon Crosse David Drew Oliver Knussen Meredith Davies Nicholas Kenyon William Mathias Professor Basil Dean e Gerald McDonal d Nicholas Maw David Drew Nicholas Maw Evan Parker John Drummond John Mayer Anthony Payne Gerald Englis h Donald Mitchel l Judith Pearc e Professor Peter Evans Daphne Oram Veronica Slater Eric Falk Stephen Plaistow Tim Souster 47

Council, Contntittees and Panels

Thomas Wilson Arts Films Committee Nigel Stannard (South) * Hugh Wood The Lady Vaizey Chairma n s Member of Touring Finance Committee Edgar Anstey, OBE Regional Committee Alan Bowness Lady Casson Training Committee Professor Harold C. Baldry Michael Clarke Chairma n Roger Crittenden G. Laurence Harbottle Chairman Robert Atkin s Colin Ford Michael Barnes Bill Forster Professor Stuart Hood, MB E Alan Bowness Jack Goldberg Mark Kidel Stuart Burge, CB E Robin Guthri e Terry Measham John Bur y Denys Hodso n Gavin Millar Stephen Doncaste r Ian S. McCullum Ed Mullin s Bill Dufton Robert Smith) Eric Rowan John Field Elizabeth Thoma s Nancy Thomas • Martyn Goff Dr Robert Woof Dr Lisa Tickner Francis Hawcroft Philip Hedley t Observer nominated by the Standing Artists' Films Sub-Committee Russell Hill s Conference of Regional Arts Association s Professor Stuart Hood Chairma n Tom Macarthu r Arts Centres Sub-Committee Ian Christie Harry Pegg The Lady Vaizey Chairma n Simon Field Allen Perciva l Bill Forster Tony Rayn s Caroline Phillips Naseem Kha n Laura Mulvey Owen Ree d John Lan e Caroline Tisdall Caroline Smith Harold Mark s Hazel Vincent Wallac e David Pease Administration Jeremy Rees Touring Committee Sub-Committe e Christopher Richard s Michael Tearle John Manduell Chairman Russell Hills Chairman Professor Harold C. Baldry David Carson Community Arts Committee Professor Basil Deane* Richard Coverley Paddy Kitchen Chairma n Roger Lancaster * Petra Dolby Ronald Atkin s Ian McKellen Mark Francis Professor Harold C . Baldry Lawrence Newby Francis Hawcroft Peter Blackma n Annette Pag e Gavin Henderson Chris Carrel l Clive Perry Joanna Horden Denis Dudley Stephen Phillips Tim Hulse Chris Elphick Christopher Richards * W. J. Kitchingham Jack Goldberg Robert Scott * Gerald McDonald Martin Goodrich John Tooley Freda Steel Len Graham Martin William s Timothy Stevens Jenny Harris Judith Vicker s Nigel Leac h Nominated by Regional Hazel Vincent Wallac e Shantu Mehe r Consultative Committees : Alwyne Scrase Dickins (Wes t Actors & Drama Schools Maggie Pinhorn Working Group Shiv Ranjan Sing h Midlands) Peter Star k Patrick Dromgoole (South West) Owen Reed Chairma n Elizabeth Thoma s Nicholas James (North West ) Trevor Baxter Susan Ward Les Jobson (North East) Michael Bogdano v Graham Woodruff Roy Nevitt (East Midlands ) Anna Carteret David Sandford (Yorkshire ) John Field William Servaes (Eastern) Raphael Jago 48

Council, Committees and Panels

Barry Letts Robert Stanton Allen Percival Michael Williams Clive Perry Edward Petherbridge Prunella Scales Clive Swift Designers Working Group John Bury Chairma n Michael Annals Bill Bryde n Deirdre Clancy Stephen Doncaste r William Dudley Hayden Griffin John Gunter John Halle Jane Howell Christopher Morley John Napier Timothy O'Brien Anena Stubbs Directors Working Group Stephen Barry John Blatchley Michael Bogdanov Bill Bryden John Copley John Dove Ian Giles John Harrison Philip Hedley Stephen Holli s Mike Leigh Rhys McConnochi e Caroline Smit h Clare Venables Richard Wortle y Technicians & Stage Management Working Group Harry Pegg Chairman Brian Berm William Besan t John Clarke "William Cousin s Jeremy Godde n Russell Hills David Machin David Marchmen t Tom Macarthu r Eric Otto 49 Council, Committee ~ and Panels

Scottish Arts Council Jake Kempsel l Hugh Rae Duncan Macmillan The Lord Balfour of Burleigh Writers Bursaries Panel Chairman* Drama Committee J. K . Annand James S. Morris fire-Chairman * Professor James F. Arnott George Bruce Tom Alexander Chairma n Dorothy Dunnett Professor James F . Arnott, To * Eluned Brown Douglas Gifford H. Jefferson Barnes, CBF Joe Gerber Donald MacAulay Peter Branscomb e Martin Heller Eluned Brow n Thomas Laurie Music Committee Councillor Janey Bucha n Irene Sunters Professor Michael Flinn Chairman David Dorward Peter Branscombe Professor Michael Flinn * Trainee Directors' Panel Eluned Brown Ross Flockhart Professor James F . Arnott David Dorward Professor Alastair Fowler Kate Eveling John Field Joe Gerber Hugo Gifford David Lumsden Martin Heller Martin Heller Convener Peter Mountain Professor A. N. Jeffares* Stephen Macdonald Bryden Thomso n Mary Kloppe r John Knox Literature Committe e Thomas Laurie Professor A. N. Jeffares Chairma n Ben Smith, os F David Fletcher Colin E. Thompson James Allen Ford Professor Derick Thomso n Professor Alastair Fowler Harold Wilkinso n Valerie Gillies Mary Kloppe r * Member of the Finance and Policy Hugh Rae Committee Alexander Scott Housing the Arts Committee Professor Derick Thomso n The Lord Balfour of Burleigh Book Awards/New Writin g Chairman Awards Reading Panel James S. Morris Valerie Gillies Professor James F . Arnott Charles Gormley Professor Michael Flin n John Herdman Professor A. N. Jeffare s Hugh Rae Professor Peter Lord Rory Watson Art Committee Grants to Publishers Panel James S. Morris Chairma n W. R . Aitken Tom Alexander Alastair Borthwick H. Jefferson Barnes Donald Campbel l Beth Fishe r Professor T. A. Dunn John Knox Douglas Grant Paul Over y Ian Murray Professor Ronald Pickvanc e Colin E. Thompson Publishing/Bookselling Working Party Awards to Artists Panel W. R. Aitken John Knox Chairma n Mary Baxter John Adams Anthony Chambers Gordon Bryce Alistair Davidso n John Busby Ross Higgins 50

Council, Committees and Panels

Welsh Arts Council Jeff Clements Panels of the Literatur e Noel Jerman Committee : The Marchioness of Anglesey Hugh Loughborough Awards to Writers Chairman* Victor Margrie Grants to Publishers Ann Clwyd Vice-Chairman* Geoff Swindell Children's Books Panel Ewart Alexande r William Cleaver The following, who are not Drama Committee members of the main Committee, Christopher Cory* Neil Rees Chairman Raymond Edwards, OBE serve on the Children's Book s Ewart Alexander Panel : Dai Francis William Cleave r His Honour Judge Bruce Griffiths, Roger Boore QC* Raymond Evans OBE Elgan Davies Frank Evans Ken Hopkins Myrddin Jenkin s Dr Mered dd Evans Rhiannon Jone s Robert Hunter Dar Francisy Mairwen Gwynn Jones Sally Roberts Jones Derek Hollins Geraint Lewi s Roland Mathias* Branwen Iorwert h Professor William Mathias Norah Isaac Music Committee Rev. Moelwyn Merchant Olwen Rees The Lord Parry Christopher Cory Chairma n James Roose-Evan s Malcolm Boyd Neil Rees* Professor J. Gwynn Williams T. M. Haydn Rees, CBE* JJohn Huw Davie s John S. Davies Derrick Turner : Professor John Gwynn Williams Panels of the Drama Committee Dilys Elwyn-Edward s John Roberts Williams Dance Panel Dr David Harries Youngg People's Theatre Pane l Ken Hopkins * Member of the Finance and General George Jacques Purposes Committee The following, who are not Arnold Lewis members of the main Committee David Mansel Lewis Art Committee serve on a Panel : Professor William Mathias Christopher Nicholls Rev Moelwyn Merchan t His Honour Judge Bruce Griffiths John Prior John Hugh Thoma s Chairman Alan Storey Robert Hunter Vice-Chairman Peter Williams Panels of the Music Committee Lewis Allan Recordings Panel GKeit A Awards for Advanced Study Pane l hwyn Brown Literature Committee Evan Charlton Roland Mathias Chairman Film Committe e Graham Allen William Cleave r Ann Clwyd Chairma n Ann Clwyd Don Dale-Jones Alun Creunant Davies KenFlood Selagh Hourahane Ken Hopkins Rev Moelwyn Merchant Walford Davies John James Allan Pemberton Gwyn Erfyl Professor Richard Griffiths Harley Jones Peter Prendergast Richard Lewis Tony Stevens Robin Gwyndaf Cyril Hughes Charles Roebuck Alan Taylor Norman Schwenk Derrick Turner Mairwen Gwynn Jones Professor Bedwyr Lewis Jones Peter Stead Panels of the Art Committee : Roger Stephens Jones r SStead Artists' Panel Dr Prys Morgan John Roberts William s Exhibitions Panel The Lord Parry John Rhys Panel of the Film Committee: Craft Committee Ned Thomas Film Making Applications Panel Derrick Turner Chairman Roy Thoma s Peter Cambridge John Roberts Williams 51

Arts Council of Great Britain

Chairman The Right Hon Kenneth Robinson Vice-Chairman Jeremy Hutchinson, Qc

Staff HEADQUARTERS Secretary-General Roy Shaw 105 Piccadilly Deputy Secretary-GeneralAngus Stirling London W 1 V OAU Finance Director Anthony Field, FCA 01-629 9495 Art Director Robin Campbell, Dso Director ofExhibitions Joanna Drew Drama Director J. R. H. Faulkner Deputy Drama Director D. G. Andrews Music Director John Cruft Deputy Music Director Eric Thompson, OBE Literature Director Charles Osborne Director of Touring Jack Phipps Adviserfor Festivals and External Matters K. H. Jeffery Chief Administration Officer J. D. Haskin s Accountant David Pelham, ACA

SCOTLAND Director Alexander Dunba r 19 Charlotte Square Deputy Director Harry McCann Edinburgh EH2 4DF Art Director William Buchana n 031-226 6051 Music Director Christie Duncan Drama -Director A . Wraight Literature Director Trevor Royle Development Director J. W. Murphy Finance Assistants Alex J. Murdoch, John F . Hall

WALES Director Aneurin Thomas Holst House, Museum Place Deputy Director R. J. K. Harris Cardiff CF13NX Music Director Roy Bohana Cardiff (STD 0222) 394711 Drama Director Gillian Adams Art Director Peter Jones Lieterature Director Meic Stephen s Accounts Officer D. T. Murdoch

52 Arts Council OF GREAT BRITAI N

Annual accounts for the year ended 31 March 197 7

Notes on the accounts 55 Arts Council of Great Britain accounts 5 7 The Scottish Arts Council accounts 8 5 The Welsh Arts Council accounts 101

Table A Awards 11 1

Table B Housing the Arts 11 9 Table c Theatre Writing Schemes 121

Table D National Manuscript Collection of Contemporary Writers 12 6

Table E Special Funds Beneficiaries 127 H . A. Thew Fund Henry and Lily Davis Fun d Guilhermina Suggia Gift for the 'Cello The Miriam Licette Scholarshi p Mrs Thornton Fund

Table F Art Exhibitions 12 8

Table G Contemporary Music Network and Small Scale Touring Schemes 132

53 Notes on the accounts

1 5 The Parliamentary Grant-in-Aid is issued to meet th e The notes to the Balance Sheet show that works of art to the Council's expenditure falling due for payment during the value of £4,536, being the Council's collection of theatr e financial year including payments to meet commitment s designs, were transferred to the Victoria and Albert Museu m incurred in a previous year . The Council may incu r for the Theatre Museum as recorded in the Art section o f commitments during a financial year in the full knowledge Schedule 3 . that they will not fall due for payment until the followin g financial year and will have to be met from that year's 6 Parliamentary Grant-in-Aid . The Income and Expenditure The Balance Sheet records that the Council was able to Account includes as expenditure the total commitment s reduce the deficit incurred during 1975/76 on the manage- incurred during the financial year, and under income th e ment of freehold property in the Covent Garden are a total amount of Grant-in-Aid allocated to meet thos e conveyed into the Council's ownership during 1974/75 an d commitments including a sum earmarked by the Counci l upon which it is hoped that an extension to the present from the following year's Parliamentary Grant-in-Aid. Royal Opera House will be built . The remaining accumu- This sum is shown as an asset in the Balance Sheet . lated net deficit is carried forward to be offset against th e further surplus to be earned on the management of thi s property . An independent trust will be set up to manag e 2 this property . During the year under review the Council again invoke d the agreement whereby a proportion of the Grant-in-Ai d 7 committed during 1976/77 can be claimed from th e Schedule 1 shows that during 1976/77 a surplus wa s Government during 1977/78 as commitments mature, thus achieved on the Council's publications sales activities . This the balance of £ 1,400,000 due to the Council out of the tota l result was mainly attributable to a substantial increase in the Grant-in-Aid of £37,150,000 is included under curren t volume of sales as a result of record attendances at several assets in the Balance Sheet . Hayward Gallery exhibitions including `The Arts of Islam ' and `Sacred Circles'.

3 8 The general economic situation resulted in an increase in During 1976/77 the Council commissioned reports and the number of applications for loans considered by th e surveys at a total cost of £7,625 included in Schedule 1, and Council. Fully secured interest-free loans were agreed t o Schedule 2 shows expenditure of a further £12,207 o n enable three organisations in receipt of annual revenu e enquiries and investigations . The great variety of topic s subsidy from the Council to meet capital commitments covered included advanced opera training, the Poetry already assumed . A further loan enabled a musician t o Society, small and middle scale touring, arts centres , finance the purchase of a musical instrument . minority arts, industrial relations in the performing art s An unsecured loan of £3,000 agreed during 1975/76 wa s and video tape distribution . repaid and this sum, made available by IBM (UK) Limited , will be donated to a fund being established in memory of 9 the late Bern Levy to assist playwrights. During 1976/77 organisations and others active in the musi c profession examined the possibility of setting up a fund , independent of the Arts Council, from which loans would b e l 4 made to enable musicians to finance the purchase of musica f The notes to the Balance Sheet record the Council' s instruments . The Council agreed to make a contribution o purchase of freehold property at 9 Record Street, London , £30,000 to the fund, which is now in formation, and thi s subsidy is included in the Music section of Schedule 3 . S.E.15. These premises are used for storage purposes an d this purchase will achieve economies in future rent and transport costs which would otherwise be incurred . 10 The Council also agreed during the year under review to The Touring section of Schedule 3 lists those organisations renew the auditorium seating at the NVigmore Hall which i s which received subsidy for touring only . Subsidy for the under the Council's management . It is intended that thi s touring activities of many other Music and Drama programme of refurbishing will be completed in time for organisations is included in the figures shown in thos e the start of the 1977/78 season. sections of Schedule 3 . 55

Votes on the accounts

1 1 The donations recorded in Schedule 4 include substantial contributions towards the costs of presenting the following Arts Council exhibitions : `Arts of Islam ' `Constable Drawings ' `Sacred Circles' `Felix Vallotton' `Towards Independence ' `Howard Hodgkin'

1 2 Responsibility for the `Third Eye' Arts Centre in Sauchiehal l Street, Glasgow, and the activities promoted there, wa s transferred from the Scottish Arts Council to a n independent trust during 1976/77 . The freehold premises occupied by the Centre remain the property of the Scottis h Arts Council .

A number of organisations listed in the Music and Drama sections of Schedule 3 in the Scottish Arts Council Account s received further subsidy towards the additional costs of touring and these subsidies are detailed in the Tourin g section of that schedule .

56

Arts Council OF GREAT BRITAIN Income and Expenditure Account for the year ended 31 March 1977

1976 1977

Income 28,850,000 Parliamentary Grant in Aid 37,150,000 Provision for grants and guarantee s 87,721 in previous year not required 125,36 9 - Transfer from capital account 4,536 5,780 Transfer from reserve for capital expenditure 18,01 2

Miscellaneous income 130,567 Bank and investment 124,425 6,745 Donations 4,147 --- Realisation of assets 632 8,293 Sundry 15,687 145,605 144,89 1

29,089,106 37,442,80 8

Less Expenditure England General expenditure on the arts (see 22,337,892 Schedule 1) 28,485,192 1,095,336 General operating costs (see Schedule 2) 1,242,76 6 Capital expenditure transferred to capita l 74,154 account 227,01 5 18,012 Reserve for capital expenditure 22,102

23,525,394 29,977,07 5 Scotland 3,100,000 Grant to Scottish Arts Counci l 4,534,900

Wales 2,402,940 Grant to Welsh Arts Counci l ' 0^1 nA o ~n n~o wo e 9" oor n1 o

60,772 Excess of income over expenditur e 57,78 5 138,594 Add Balance brought forward at 1 April 1976 199,36 6

£ 199,366 Balance carried forward to Balance Sheet £257,151

57 Arts Council OF GREAT BRITAIN Balance Sheet at 31 March 1977

1976 1977 Fixed assets (see Note 1 ) 3,150,058 Freehold property 3,256,753 113,066 Leasehold property improvements 140,42 5 89,865 Office equipment 101,866 23,186 Art exhibition equipment 18,048 17,052 Concert hall equipment 15,06 7 Stores equipment 1,027 10,778 Motor vehicles 17,794 100 Cello 100 Film equipment 11,78 3 319,261 Works ofart 374,380

3,723,366 3,937,243 Current assets Secured loans 34,792 Balance at 31 March 1976 193,292 164,000 Add Loans made during year 210,00 0

198,792 403,292 5,500 Less Repaid during year 5,500 193,292 397,792 Unsecured loan 3,000 Balance at 31 March 1976 3,000 Less Repaid during year 3,000 - - 3,000 - Investments 4;°o British Electricity guaranteed stock 2,419 1974/79 (market value £2,727) 2,419 5%, Treasury stock 1986/89 (marke t 647 value £479) 647 Equities investment fund for charities 3,082 (market value £7,102) 3,082 6,148 6,148 Stock 127,116 Publications and shops 139,03 2 2,554 Restaurant and bar 2,94 1 129,670 141,973 Amount earmarked by the Council from the Grant-in-Aid in the Parliamentary Estimate s 1,390,000 for 1977/78 to meet unmatured commitments 1,400,00 0

Debtors and prepayment s 466,350 Grants and guarantees paid in advance 544,61 5 75,o00 Grant paid in advance to Welsh Arts Council - 137,714 Expenditure on future exhibitions 34,66 0 182,642 Sundry debtors and prepayments 224,73 2 861,706 804,00 7 123,748 Cash at bank and in hand 37,264 Cash held on behalf of the London Celebration s Committee for the Queen's Silver jubilee 342,45 6

6,430,930 Total fixed and current assets (carried forward) 7,066,883 58

Balance Sheet Arts Council of Great Britain

1976 1977

£ 6,430,930 Total fixed and current assets (brought forward) £ 7,066,883

Less Current liabilitie s 1,951,454 Grants and guarantees outstanding 2,026,597 512,604 Sundry creditors and accrued liabilities 442,229 Funds due to the London Celebration s - Committee for the Queen 's Silver jubilee 342,456 2,464,058 2,811,282

3,966,8 72 4,255,601 175,855 Special funds net assets (see Schedule 5) 174,952

£4,142,727 Total net assets £4,430,553

Capital account 3,653,003 Balance at 31 March 1976 3,723,366 Add Capital expenditure transferred from 74,154 income and expenditure account 227,01 5

3,727,157 3,950,381 Less : Capital items transferred to income - and expenditure account 4,536 3,791 Book value of assets sold or written off 8,602 3,791 13,13 8

3,723,366 3,937,243 199,366 Income and expenditure account 257,15 1 58,229 Reserve for special art projects 58,229 18,012 Reserve for capital expenditure 22,102 5,000 Reserve for indemnity 5,000 Special funds capital and reserves (see 175,855 Schedule 6) 174,95 2

456,462 517,434 Less Deficit on Covent Garden Property 37,101 Management 24,12 4 419,361 493,31 0

£4,142,727 Total capital and reserves £4,430,553

Chairman : KENNETH ROBINSON

Secretary-General : ROY SHAW

59

Arts Council OF GREAT BRITAIN Notes to Balance Sheet

Note 1 Fixed Assets Book value Additions Assets Items sold or Book value 31 March 197 6 at cost re-allocated written off 31 March 197 7 £ £ £ £ £ Freehold property at cost Covent Garden Property 3,150,058 3,150,058 9 Record Street 106,695 106,69 5

Leasehold property improvements at cost 105 Piccadilly 41,525 2,769 44,294 Hayward Gallery 44,183 2,906 47,089 28 Sackville Street 27,358 123 27,481 Wigmore Hall 21,561 21,561

Office equipment at valuation at 31 March 1956 and at cost 89,865 16,902 (109) 4,792 101,86 6

Art exhibition equipment at valuation at 31 March 1956 and at cost 23,18 6 2,624 (7,719) 43 18,04 8

Concert hall equipment at valuation at 31 March 1956 and at cost 17,052 399 2,384 15,067

Stores equipment 1,027 1,027

Motor vehicles at cost 10,77 8 8,371 1,355 17,79 4

Cello at valuation at 31 March 1960 100 100

Film equipment 3,955 7,828 11,783

Works of art at cost 319,261 59,683 4,564 374,380

£3,723,366 4227,015 £13,138 43,937,243

Note 2 No provision has been made for depreciation of assets : renewals are charged against income .

Note 3 Indemnities entered into by the Arts Council of Great Britain in respect of objects borrowed for exhibition purpose s totalled not more than £5,307,500 at 31 March 1977.

Note 4 Contingent liabilities in respect of Housing the Arts in England, Scotland and Wales totalled £1,261,300 at 31 Marc h 1977.

I have examined the foregoing Account, Balance Sheet and Notes on the Accounts . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Shee t are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britain and of th e state of their affairs . Signed : D. O. Henley Comptroller and Auditor Genera l Exchequer and Audit Department 26th August 1977 60

Schedule i General expenditure on the arts in England for the year ended 31 March 1977

The Royal Opera, English National Opera, The Royal Ballet, National Theatre an d Royal Shakespeare Companies (see Schedule 3) 9,967,173

Music Grants and guarantees (see Schedule 3) 3,932,455 Contemporary Music Network scheme expenses 7,21 6 Opera for All : Expenditure 60,32 9 Less Income 22,825 Less VAT 1,690 21,135 39,19 4 Wigmore Hall : Expenditure 72,37 0 Less Income 39,402 Less VAT 336 39,066

33,304 Less Surplus on Wigmore Hall catering 2,587 30,717 4,009,582 Drama Grants and guarantees (see Schedule 3) 5,642,602 Scheme expenses 1,771 TKTS scheme 6,130 5,650,503 Touring Grants and guarantees (see Schedule 3) 1,444,533 Publicity, salaries and sundry expenses 134,242 . 1,578,775 Art Grants and guarantees (see Schedule 3) 620,540 Net cost of exhibitions (see Schedule 4) 636,94 9 Hayward Gallery 199,41 8 Serpentine Gallery 20,462 1,477,369 Art film tours : Expenditure 22,762 Less Income 6,864 Less VAT 509 6,355 16,407 Art films: Expenditure 1971244 Less Income 16,009 Less VAT 744 15,265 181,97 9

Carried forward 1,675,755 21,206,033 61

A ill ('oL nCfl Schedule 1 OF GRFAT BRITAI N

£ £ Brought forward 1,675,755 21,206,03 3 Publication s 6,461 Work in Schools 1,156 1,683,372

Literature Grants and guarantees (see Schedule 3 ) 413,144 Poetry librar y 6,086 Writers' tours 3,235 Writers in school s 9,413 Publications and promotion s 461,666 Festival s Grants and guarantees (see Schedule 3 ) 240,51 6 Regional Arts Associations Grants and guarantees (see Schedule 3 ) 3,021,506 Arts Centres and Community Projects Grants and guarantees (see Schedule 3 ) 635,75 8 Education in the Arts Grants and guarantees (see Schedule 3 ) 318,38 1 Short courses and training schemes expense s 7,388 325,769

Reports and Survey s 7,625 Housing the Arts Grants (see Schedule 3 ) 905,000

28,487,24 5 Publications Income : Arts Council Sho p 73,46 8 105 Piccadilly 44,458 Gallery Bookstalls 73,94 1

191,86 7 Less VAT 6,046

185,82 1 Less Expenditure, including operating costs 183,768

Net surplus on publication s 2,053

Net expenditure as Income and Expenditure account £28,485,192

62

schedule 2 General operating costs in England for the year ended 31 March 1977

Salaries and wages 705,11 5 Arts Council of Great Britain Retirement Plan 102,82 0 Travelling and subsistence 42,102 Rent and rates 134,59 9 Fuel, light and house expenses 61,943 Publicity and entertainment 43,923 Postage and telephone 53,68 2 Stationery and printing 34,130 Professional fees 9,109 Enquiries, investigations and research 12,20 7 Office and sundry expenses 43,136

Total as Income and Expenditure account £ 1,242,76 6

Schedule 3 Grants and Guarantees for the year ended 31 March 1 977 (including subsidies offered but not paid at that date ) National Companie s

English National Opera 2,225,000 National Theatre Board 2,436,500 Royal Opera House, Covent Garden Limited 4,300,000 Royal Shakespeare Theatre 1,005,67 3

Total as Schedule 1 £9,967,173

Music

Opera English 1lusic Theatre Company Limited 418,00 0 Handel Opera Society 19,00 0 Intimate Opera Society Limited 2,500 London Opera Singers Limited 10,00 0 Morley College 1,000 New Opera Company Limited 19,500 Opera Players Limited 6,000 Regional Opera Trust Limited (Kent Opera) 168,000 Royal Northern College of Music 10,000 University College London Music Society 1,400

Carried forward 655,400 63

A its (-',-,,, .nd Schedule 3 OF GREAT BRITAIN

Brought forward 655,40 0 Dance Alexander Roy London Ballet Theatre 700 Another Dance Group 150 Ballet for All 50,000 Basic Space Dance Theatre 800 Beshara Design Centre 500 Cockpit Theatre and Arts Workshop 700 Contemporary Dance Trust Limited 200,000 Cycles Dance Company 955 Dance for Everyone Limited 11,50 0 Dance Prism 336 Dancers Anonymous 847 Dance Theatre Commune 1,820 Dance Theatre Corporation 750 Educational Dance-Drama Theatre Limited 14,00 0

Judith Katz and Sally Cranfield 51 8 Junction Dance Company 300 Kate Flatt 322 London Festival Ballet Trust Limited 350,000 London Mime Theatre 100 Ludus 2,575 Mercury Theatre Trust Limited (Ballet Rambert) 220,000 Miranda Tufnell and Martha Grogan 335 Moving Visions Dance Theatre 1,600 Northern Dance Theatre Limited 150,000 Ronald Lloyd and Anitra Shore 550 Rosemary Butcher Dance Company 715 Still Life Mime Theatre 491 X6 Dance S pace 1.560 1,013,25 9

Orchestral and other concert s Allied Artists Agency 430 Bob Downes 1,988 Boston Musica Viva 1,508 Brighton Philharmonic Society Limited 13,00 0 Bristol Sinfonia Limited 5,500 British Broadcasting Corporation (BBC Singers) 4,424 CBSO Society Limited 195,00 0 Cheltenham Chamber Orchestra Association 1,000 Chilingirian Quartet 2,520 Dennis Smalley 1,087 El Cimarron 3,920 Eastern Authorities Orchestral Association 60,000 Experimental Arts Productions 654 Graham Collier 8,225 Ha116 Concerts Society 220,000 Haydn-Mozart Society 16,000

Carried forward 535,256 1,668,65 9 64

Schedule 3 Arts Council of Great Britain

forward 535,256 nit Imogen Cooper 710 Intercontinental Express 222 Ivory Management 368 Jane Manning 960 Jazz Centre Society Limited 33,000 John Taylor Octet 3,514 John Warren Band 4,132 Keyboard Group 200 Landscape 216 Live Music Now 2,500 London Jazz Composers Orchestra 800 London Music Digest Limited 3,400 London Orchestral Concert Board Limited 519,00 0 Mantra 750 Midland Sinfonia Concert Society Limited 15,500 Music Now 1,775 Nash Ensemble 13,297 National Association for the Care and Resettlement of Offenders 750 National Federation of Music Societies 218,000 National Trust Concerts Society Limited 1,000 Northern Sinfonia Concert Society Limited 81,500 Park Lane Group Limited 5,000 Philip Jones Brass Ensemble 2,001 Progressive Cultural Association 1,000 Redbrass 6,750 Royal Liverpool Philharmonic Society 205,00 0 Sarah Walker 520 Sinfonietta Productions Limited 21,32 7 Society for the Promotion of New Music Limited 25 Steve Reich Foundation 12,03 3 Summer School of Music Limited 2,000 Sun Sum 1,185 Thames Concerts Society 2,250 Tuckwell Wind Quintet 2,869 University of London Faculty of Music 600 Western Orchestral Society Limited 380,00 0 West London Sinfonia 180 World Centre for Shakespeare Studies Limited 125 2,081,385 Other Activitie s Awards to Artists 74,08 1 BBC Records 2,200 Bead Records 750 British Council 5,000 Compatible Records and Publishing Limited 1,500 Contact 1,500 Contemporary Concerts Co-ordination 1,750 Folk Review Limited 780

Carried forward 87,561 3,750,044 65

Arts C,.,,.mc Schedule 3 OF GREAT BRITAI N

Brought forward 87,561 3,750,044 Jaguar Records 700 Loan Fund for Musical Instruments (in formation) 30,000 Mosaic Records 4,000 Music Information Centre Trust 3,500 National Music Council of Great Britain 550

Amersham Concert Club 2,500 Derby Borough Council 5,000 Doncaster Metropolitan Borough Council 2,250 Greater Manchester Council 3,000 Hillingdon Borough Council 1,500 Northamptonshire County Council 5,000 Reading Borough Council 2,000 21,250 Record Supervision Limited 2,000 Unity Records Co-operative 2,850 Youth and Music Limited 30,000 182,41 1

Total as Schedule 1 455

Drama Basingstoke : Horseshoe Theatre Company Limited 22,000 Billingham Forum Theatre 34,000 Birmingham : Alexandra Theatre (Birmingham) Limited 16,500 Birmingham Repertory Theatre Limited 238,000 Bishop's Stortford : Spectrum Theatre Trust Limited 15,000 Bolton : Octagon Theatre Trust Limited 65,000 Bristol Old Vic Trust Limited 200,00 0 Bromley : Churchill Theatre Trust Limited 8,300 Cambridge Theatre Company Limited 78,000 Canterbury Theatre Trust Limited 40,150 Cheltenham Everyman Theatre Company Limited 57,000 Chesterfield Civic Theatre Limited 35,000 Chester : Gateway Theatre Trust Limited 42,740 Chichester Festival Theatre Productions Company Limited 20,000 Colchester Mercury Theatre Limited 84,000 Coventry : Belgrade Theatre Trust (Coventry) Limited 98,00 0 Crewe Theatre Trust Limited 35,00 0 Derby Playhouse Limited 69,75 0 Exeter : Northcott Devon Theatre and Arts Centre 82,00 0 Farnham Repertory Company Limited 57,00 0 Guildford: Yvonne Arnaud Theatre Management Limited 58,000 Harrogate (White Rose) Theatre Trust Limited 60,000 Hornchurch Theatre Trust Limited 95,300 Ipswich Arts Theatre Trust 55,500 Lancaster : The Duke's Playhouse Limited 72,165

Carried forward 1,638,405 66

Schedule 3 Arts Council of Great Britain

Brought forward 1,638,405 Leatherhead : Thorndike Theatre (Leatherhead) Limited 80,000 Leeds Theatre Trust Limited 93,406 Leicester Theatre Trust Limited 165,96 8 Liverpool : Merseyside Everyman Theatre Company Limited 68,250 Liverpool Repertory Theatre Limited 114,200 London : Camden Playhouse Productions Limited 37,895 Caryl Jenner Productions Limited 85,71 0 English Stage Company Limited 241,20 0 Greenwich Theatre Limited 77,675 Hampstead Theatre Club Limited 45,300 Inter-Action Trust Limited 44,000 Mermaid Theatre Trust Limited 105,20 0 National Youth Theatre (Dolphin Company) 30,000 New Shakespeare Company Limited 70,81 5 Pioneer Theatres Limited 87,000 Polka Children 's Theatre Limited 15,000 Theatre Centre Limited 58,000 Young Vic Company Limited 120,50 0 Manchester : The Royal Exchange Theatre Company Limited 138,70 0 Manchester Young People's Theatre Limited 40,150 Newcastle-upon-Tyne : Tyneside Theatre Trust Limited 110,55 9 Northampton Repertory Players Limited 45,000 Nottingham Theatre Trust Limited 214,25 0 Oldham Repertory Theatre Club 39,100 Oxford : Anvil Productions Limited 113,07 5 Plymouth Theatre Trust Limited 35,000 Salisbury Arts Theatre Limited 61,000 Scarborough Theatre Trust Limited 40,000 Sheffield : Crucible Theatre Trust Limited 233,00 0 Southend : Palace Theatre Trust (Southend and Westcliff) Limited 30,000 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 67,565 Watford Civic Theatre Trust Limited 41,000 Worcester Arts Association (SAMA) Limited 33,000 Worthing and District Connaught Theatre Trust Limited 41,800 York Citizens' Theatre Trust Limited 75,000

Abrakadabra 500 Alternative Theatre Company Limited 33,600 Association of British Theatre Technicians 3,300 Avon Touring Company 30,260 Belt and Braces Roadshow Company Limited 40,000 The Big Girls Blouse 7,000 Birmingham Arts Laboratory Limited 6,150 Black Theatre of Brixton 18,50 0 Black Theatre Workshop 400 British Theatre Association 10,75 0 British Theatre Institute 2,425 Broadside Mobile Workers Theatre 20,000 Caribbean Cultural International 500

Carried forward 4,710,108 67

Arts s CoLmd Schedule 3 OF GREAT BRITAIN

L Brought forward 4,710,108 Cartoon Archetypical Slogan Theatre 14,00 0 Cecropia Company 125 The Church Army 200 Clown Cavalcade Limited 12,50 0 The Combination Limited 40,690 The Common Stock Theatre Company Limited 21,986 Council of Regional Theatre 1,150 Covent Garden Community Theatre Workshop 2,750 The Crystal Theatre of The Saint 1,000 Diz Willis 1,000 Drum Arts Centre Limited 3,000 Eastend Abbreviated Soapbox Theatre 9,100 Fine Artistes 1,000 Foco Novo Limited 27,595 Forkbeard Fantasy 250 Friends Roadshow 8,000 Galactic Smallholdings Limited 40,000 Gate Theatre Company 250 Gay Sweatshop 14,55 7 Geraldine Pilgrim 494 Half Moon Theatre Limited 46,450 Hull Truck Theatre Company Limited 16,00 0 Incubus Theatre Company 12,00 0 International Fringe Limited 40,485 Interplay Trust 10,15 5 Jean Pritchard Management Limited 3,725 John Bull Puncture Repair Kit 13,000 John Calder (Publishers) Limited (`Gambit') 1,000 King's Head Theatre Productions Limited 17,25 0 Ladies and Gentlemen 500 Les Oeufs Malades 350 LTG Adventures Limited 11,15 0 Lumiere and Son Theatre Company Limited 15,500 Major Road Theatre Company 13,000 Mikron Theatre Company Limited 6,000 Mutable Theatre 500 National Council of Theatre for Young People 600 Natural Theatre Company 12,000 The Northern Black Light Theatre 750 North West Spanner Theatre 11,000 Oval House 23,500 Overground Theatre Company Limited 15,000 Pentameters 500 The People Show Society 16,000 Pip Simmons Theatre Group Limited 30,00 0 Pirate jenny 20,00 0 Professor Finlay's Punch Emporium 250 Puppet Centre Trust 1,750 Recreation Ground Theatre Company Limited 16,500

Carried forward 5,264,670 68

Schedule 3 Arts Council of Great Britain

Brought forward 5,264,670 Red Ladder Theatre Company Limited 30,000 Richmond Fringe Limited 20,400 Rough Theatre 500 Salakta Balloon Band 8,000 Sal's Meat Market 3,800 Salt Theatre 560 Scarab Theatre Limited 2,275 Science Fiction Theatre of Liverpool 9,000 7 :84 Theatre Company (England) Limited 44,500 Shared Experience Limited 18,000 Sidewalk Theatre Company 9,250 Society for Theatre Research (`Theatre Notebook') 225 Soho Theatre Company Limited 25,000 Southtown Theatre Limited 6,155 Steve Whitson 1,000 Stirabout Theatre Company 9,000 Temba Theatre Company 20,175 Theatre At New End Limited 5,218 Theatre Kit 2,000 Theatres Advisory Council 2,700 Theatre Slapstique 6,000 TQPublications Limited (`Theatre Quarterly') 3,000 Triple Action Theatre Group 15,000 Unexpected Developments Limited 14,900 Wakefield Tricycle Company 25,000 Wearabout Theatre Company 375 Westway Hippodrome 1,149 Women's Theatre Group 12,500 Bursaries 51,600 Royalty Supplements 30,650

Total as Schedule 1 £5,642,602

Music Glyndebourne Productions Limited 160,000 New London Ballet Limited 24,700 Scottish Opera Limited 166,500 Scottish Theatre Ballet Limited 17,500 Welsh National Opera and Drama Company Limited 705,000 1,073,700

Drama Actors Company Productions Limited • 59,00 0 Barbara Plays Limited 4,000 Blythe Productions Limited 5,000 British Theatre of the Deaf 15,500

Carried forward 83,500 1,073,700 69

A its CoLm ,;l Schedule 3 OF GREAT BRITAI N

£ £ Brought forward 83,500 1,073,700 Chameleon Productions 2,000 Cwmni Theatr Cymru Limited 1,750 Dockwalloper Productions 1,350 Jackal Productions Limited 9,813 Lancaster Orbit Limited 13,326 The Lovely and Talented Theatre Band 3,500 The Monstrous Regiment 21,300 Orchard Theatre Company 8,000 Paines Plough 13,700 Prospect Productions Limited 137,000 Theatre Network Limited 3,750 Theatre North 11,25 0 Theatre Roundabout Limited 1,000 Theatre Royal (Norwich) Trust Limited 12,50 0 Travelling Playhouse Limited 9,009 Triumph Theatre Productions Limited 38,085 370,83 3

Total as Schedule 1 £ 1,444,533

Art

Birmingham : Ikon Gallery Limited 24,500 Bristol : Arnolfini Gallery Limited 71,500 Independent Cinema West 500 Cambridge : Kettle's Yard Gallery 8,500 Colchester : Victor Batte -Lay Trust 6,000 London: The Acme Housing Association Limited 14,82 0 Action Space 15,00 0 Art Services Grants Limited 32,500 Blackfriars Settlement 1,470 Contemporary Art Society 5,000 Half Moon Gallery Limited 8,000 The Morley Gallery 2,500 The Photographers' Gallery Limited 26,700 UK National Committee of the International Association of Art 800 Victoria and Albert Museum 4,536 Whitechapel Art Gallery 35,000 Newlyn Orion Galleries 8,800 Nottingham : Midland Arts and Community Centre Limited 55,000 Oxford : Modern Art Oxford Limited 40,000 Penwith Society of Arts 5,000 York : Impressions Gallery of Photography Limited 10,000

376,126 Grants and guarantees towards exhibitions Bath: John Judkyn Memorial : American and British Folk Art 1,000

Carried forward 1,000 376,12 6 70

Schedule 3 Arts Council of Great Britain

Brought forward 1,000 376,12 6 Birmingham City Museum and Art Gallery : Michael Ayrton 1,700 Bradford Metropolitan District Council : Fifth British International Print Biennale 5,000 Bristol Film Exhibition Committee : Expanded Cinema 1,000 Cambridge Association of Architects : Cambridge As It Might Have Been 500 Cambridge : Fitzwilliam Museum : American Drawings from Copley to J . S. Sargent 250 The Chiltern Society : Chilternscape 76 750 Dartington College of Arts : Rabindranath Tagore 462 Derby Independent Film Awards Society 1,747 Durham : DLI Museum and Art Gallery : Beyond Light 150 Eastbourne : Towner Art Gallery : Edward Burra 250 Liverpool: Walker Art Gallery : American Artists in Europe : 1880-1900 Z,uutl American Drawings from Copley to J . S. Sargent 450 London : Art Services Grants Limited : London Calling Festival 1,000 Ninth Stockwell Depot Show 650 Artists for Democracy : The Hand in Life and Art 250 Artists' Market Association 12,397 Box Room Gallery: Herbert Ponting 100 Childrens' Rights Workshop and Ikon : Children Photographed 1,600 Coracle Press Gallery : Le Jardin de 1'Anterieur 147 London : Courtauld Institute Galleries: The Portraits of Roger Fry 500 House Gallery : Michael Fussell (1927-74) 500 The London Group at Camden 1,200 New Contemporaries Association 1977 2,000 Research Into Lost Knowledge Organisation : The Earth Mysteries 500 South London Art Gallery : Constant Lambert (1905-51) 600 Stuart Sutcliffe (1940-62) 387 The Victorian Society : Benjamin Woodward 600 Weber Commemoration 250 Zoological Society of London : The Golden Years 350 Sheffield City Art Galleries' Sir Lawrence Alma -Tadema 1,650 Winchester School of Art : Conference on Art Criticism 280 Wolverhampton Art Gallery and Museums : The Cranbrook Colony 650 40,870 Works of Art for Public Building s Aldeburgh Festival Snape Maltings Foundation Limited 500 Bradford : University of Bradford 2,000 London: Art Services Grants Limited : Royal Oak Mural Scheme 5,000 Art Workers ' Co-Operative : Blashford House Estate 500 Charing Cross Hospital- 1,000 Greenwich Mural Workshop 1,500 Iveagh Bequest, Kenwood 750 . Milton Keynes Development Corporation 5,500 16,750

Provision ofStudios London : The Acme Housing Association Limited 10,530 Art Services Grants Limited 9,300 Oxford : Brasenose College 200 20,03 0

Carried forward 453,77 6 71

A its Co and Schedule 3 OF GREAT BRITAI N

forward tmisis ana rnorograpners in resiaence London: Polytechnic of Central London : John Tagg 2,780 Nottingham : Trent Polytechnic : Roger Palmer 2,780 Howard Hodgkin (Brasenose College, Oxford) 3,500 Wendy Brown (Washington New Town) 350 Brian Hoey (Washington New Town) 350 9,760 Awards and Bursaries Film-makers 26,42 8 Painters, Sculptors and Printmakers 73,25 5 Photographers 20,11 S Publishing and Research 3,631 123,429 Grants for gallery improvements and equipment Bradford Metropolitan District Council : Cartwright Hall I 'Soo Canterbury City Council : Royal Museum 1,500 London: The Acme Housing Association Limited : The Acme Gallery 250 Anthony Stokes Limited 1,000 Centre 161 170 Polytechnic of Central London 500 York: Impressions Gallery of Photography Limited 890 5 ,810 Grants to Publisher s Anthony Stokes Limited : `Hommage i Queneau' 1,000 Antique Collectors' Club: `A Dictionary of British Artists 1880-1940' 2,000 Coracle Press : `George Fullard' 200 Gordon Fraser Gallery Limited : `Thurston Hopkins' 2,875 Robert Self Limited : `Hamish Fulton 1969-1974' 1,600 Thames and Hudson Limited: `British Surrealism' 4,000 11,67 5

`Artscribe' 900 `Audio Arts' 1,050 Britannia Art Publications Limited : `Art Monthly' 1,350

Performance Art Alison Winckle 200 Annabel Nicholson 250 Galactic Theatre 1,000 Jolyon Laycock 750 Jules Baker and Rosie Antrobus 1,000 Kevin Atherton 600 Landscapes and Living Spaces 3,500 Raymond Richards 450 Rob Con 1,500 _ Rose English and Sally Potter 540 Situations and Real Lifescapes 3,000 12,790 as Schedule 1

72

Schedule 3 Arts Council of Great Britain

Li era ure Apollo Society Limited 1,200 Arvon Foundation Limited 15,00 0 London Library 4,000 National Book League 24,500 National Manuscript Collection of Contemporary Writers Fund 2,988 New Fiction Society Limited 25,000 The Poetry Book Society Limited 8,750 The Poetry Society 34,750 The Society of Authors 600 Society of Barrow Poets 1,750 World Centre for Shakespeare Studies Limited 750 119,28 8 Literary Magazines `Agenda' 4,800 `Ambit' 4,000 `Bananas' 3,800 `Encounter' 5,000 `Fireweed ' 3,000 `Index' 3,350 `London Magazine' 12,600 `Meridian Poetry Magazine ' 500 `Modern Poetry in Translation' 3,800 `The New Review' 35,200 `Poetry Nation' 2.100 78,15 0 Little Presse s Aloes Books 1,000 Anvil Press Poetry 7,500 Arc Publications 1,500 Carcanet New Press Limited 12,000 Enitharmon Press 2,000 Menard Press 750 Mid Northumberland Arts Group 2,000 Peterloo Poets 3,000 Trigram Press Limited 2,500 Writers Forum 1,000 33,250 Grants to Publisher s Allison and Busby Limite d `Poesies' by Lautreamont translated by Alexis Lykiard 850 `Two Moons' by Rayner Heppenstall `Lobe' by Tom Mallin `The Disinheriting Party' by John Clute 5,500

`The Road North' by Alexis Lykiard 1 Andre Deutsch Limited `A Dream Journey' by James Hanley 750

Carried forward 7,100 230,688

73

e its (~~,~Lmc;1 Schedule 3 OF GREAT BRITAIN

£ £ Brought forward 7,100 230,68 8 Reprinting `Suffrage of Elvira' , `Mystic Masseur', `House for Mr Biswas', `Mimic Men' , `Flag on the Island' and `Middle Passage' by V . S. Naipaul 2,000 Calder and Boyars Limited `New Writers 13' 1 .000

A presentation of `Ca Ira' (1920-1923) 450 Elek Books Limite d `Poems by Osip Mandelstam' translated by James Green 1,150 Eyre Methuen Limite d Fees to translators of `Bertolt Brecht : Poems 1913-1956' 600 Faber and Faber Limite d `Introduction 6' 1,500 `Poetry Introduction 4' 700 Hamish Hamilton Limited `The Notable Man' by John Ginger 1,000 Hutchinson Publishing Group Limite d `New Poems 1976/77' 1,000 John Calder (Publishers) Limited `New Writing 14' 1,500 Lawrence and Wishart Limite d `Biography of Eleanor Marx (Vol . 2)' by Yvonne Kapp 2,000 Lodonek Press `Songs from the Earth' poems by John Harris edited by D . M. Thomas 380 London Magazine Editions `A Situation in New Delhi' by Nayantara Sahgal 1,200 Marion Boyars (Publishers) Limite d `Transatlantic' by Witold Gombrowicz, translated by Alistair Hamilton 1,400 `Rainsplitter in the Zodiac Garden' by Penelope Shuttle 1,100 Martin Secker and Warburg Limite d `Here, Now, Always' by Edwin Brock 650 Outpost Publication s `The View from John Keats' by Robin Lee 100 Oxford University Pres s `Poems by Keith Douglas' edited by Desmond Graham 600 Peter Owen Limite d `The Lake' by Yasunari Kawabata 1,000 The Poet's Year Book Limite d `The Poet's Year Book' 1,000 Quartet Books `The Real Charlotte' by E . Somerville and Martin Ross 2,650 `Berg' by Ann Quin 2,150 `Shelley - The Pursuit' by Richard Holmes 4,200 `Strawberry Boy ' by Jennifer Dawson 2,200 Robson Books Limited `Poetry Dimension Annual 4' edited by Dr Dannie Abse 950 `Poetry Dimension Annual 5' edited by Dr Dannie Abse 900 The Salamander Imprint `Woods and Mirrors' a collection of poems by Jack Carey 575

Carried forward 41,055 230,68 8 74

Schedule 3 Arts Council ofGreat Britain

£ £ Brought forward 41,055 230,68 8 Thames and Hudson Limite d `The Critical Writings of Adrian Stokes' 3,500 Virago Limite d `The Suffragette Movement' by E. Sylvia Pankhurst edited by Christine Jackson 700 `The Hard Way Up' an autobiography by Hannah Mitchell 750 'Daughter o Earth' by gnes me ey 550 William Heinemann Limited `The Spiral Ascent' a trilogy by Edward Upward 1,000 Worker Writers and Community Publisher s An anthology of work by several community writing workshops 21000 Writers and Readers Publishing Co-operative Society Limite d `Removal of an Exhibition' by Ivan White 500 50,05 5 Creative Writing Fellowship s Brighton Polytechnic (Jill Paton Walsh) 4,000 Hatfield Polytechnic (John Abulafia) 4,000 London : The City Literary Institute (Alan Burns) 4,000 Polytechnic of North London (Barbara Rees) 3,969 Loughborough University (Pete Morgan) 4,000 Milton Keynes Development Corporation (Jack Trevor Story) 3,500 Reading : Bulmershe College of Higher Education (E . A. Whitehead) 4,000 Southampton University (John Birtwhistle) 4,000 University of Manchester (P . R. Mills) 3,900 University of Sheffield (Angela Carter) 3,682 University of York (Roger Howard) 3,950 Wolverhampton Polytechnic (Alan Sheridan) 4,000 47,001 Awards 85,400

Total as Schedule 1 X413,144

Festivals

Aldeburgh Festival Association 17,50 0

Brighton Festival Society Limited 12,50 0 Cambridge Festival Association Limited 3,000 Cheltenham Arts Festivals Limited 13,00 0 Chichester Celebrations Limited 7,500 Durham Oriental Music Festival Limited 3,771 English Bach Festival Trust 30,000 Harrogate Festival of Arts and Sciences Limited 12,000 Kings Lynn : St. Georges Guildhall Limited 10,25 0 Leeds Musical Festival Limited 10,000 Little Missenden Festival Committee 955 London : Camden Borough Council 9,000 City Arts Trust Limited 10,000 Sanskritik Centre of Indian Arts Limited 3,500

Carried forward 133"t/ o 75

Arts CoLnCfl Schedule 3 OF GREAT BRITAI N

Brought forward £ 155,47 6 Ludlow Festival Society Limited 6,000 Norfolk and Norwich Triennial Festival 12,000 Nottingham Corporation 7,250 Portsmouth Festival Society Limited 4,250 Salisbury Festival of the Arts 5,800 Sefton (National Organ Competition) 210 Stroud Festival Limited 3,800 Three Choirs Festival Association Limited 10,000 Wavendon Allmusic Plan Limited 1,500 Windsor Festival Society Limited 9730 Wooburn Festival Society 500 York Festival and Mystery Plays 1976 24,000

Total as Schedule 1 £240,51 6 Regional Arts Associations

Eastern Arts Association 183,092 East Midlands Arts Association 181,53 7 Greater London Arts Association 307,21 3 Lincolnshire and Humberside Arts 170,68 0 Merseyside Arts Association 146,42 1 Northern Arts 560,82 3 North West Arts 275,290 South East Arts Association 141,700 Southern Arts Association 253,21 5 South West Arts 272,13 4 West Midlands Arts 323,67 1 Yorkshire Arts Association 205,73 0

Total as Schedule 1 £3,021,506 Arts Centres and Community Projects

Birmingham: Cannon Hill Trust Limited 100 000 Bracknell : South Hill Park Trust Limited 50,000 Harlow Theatre Trust Limited 18,000 Hull : Humberside Theatre Trust Limited 31,300 Liverpool : Great Georges Community Arts Project Limited 17,000 London : Institute of Contemporary Arts Limited 130,00 0 Round House Trust Limited 39,00 0 Peterborough Arts Theatre Limited 35,36 3 Swindon : Wyvern Arts Trust Limited 19,00 0 University of Sussex : Gardner Centre for the Arts 14,000 453.663 Albany Community Video 4,130 Awake/Adwe 7,500 Bath Arts Workshop Limited 12,000 Centerprise Trust Limited 4,000

Carried forward 481,29 3 76

Schedule 3 Arts Council of'Great Britain

Brought forward 481,29 3 Circles 600 Fantasy Factory 4,000 Fine Heart Squad 5,000 Free Form Arts Trust Limited 21,500 Hackney Marsh Festival Association 3,050 Harry's Big Balloonz 2,000 Islington Bus Company 1,200 Islington Community Press 2,000 Keskidee Centre 7,000 Lenthall Road Workshop 2,000 Liberation Films Limited 5,000 Magic Lantern 12,60 0 Melting Pot Foundation 4,000 Mike Westbrook 1,000 Minorities Arts Advisory Service 5,000 Moonshine Community Arts Workshop Limited 5,000 National Association of Indian Youth 5,000 National Elfrida Rathbone Society 500 Ogunde's Variety and Folklore Group 2,000 Paddington Printshop 5,000 Puppet Tree 8,500 South Island Workshop 1,800 South London Video Group 250 Southwark Theatre Arts Factory Limited 6,000 Steel an' Skin (Arts) Limited 11,000 Street Aid 7,000 Sukuya Carnival 3,000 Trinbago Carnival Club 3,000 Union Place Community Resource Centre 6,165 Walworth and Aylesbury Community Arts Trust 71000 West Indian Carnival Committee . 4,500 Women's Free Arts Alliance 2,800

Total as Schedule 1 £635,75 8

Education in the Arts Music Benesh Institute of Choreology Limited 37,000 Central Tutorial School for Young Musicians Limited 4,000 London Opera Centre for Advanced Training and Development Limited 100,00 0 National Youth Brass Band of Great Britain 2,500 National Youth Orchestra of Great Britain 20,00 0 Rehearsal Orchestra 3,500 167,00 0

Drama Centre London Limite d 3,700 National Youth Theatre 7,500 11,20 0

Carried forward 178,20 0 77

C Schedule 3 „unl OF GREAT BRITAI N

£ £ Brought forward 178,200 Training Scheme s Actors 9,583 Administrators : Diploma Course bursaries 15,700 Practical Course bursaries 12,520 In-Service bursaries 1,369 The City University 18,450 Designers 8,414 Directors 18,825 Technicians : Bursaries 2,520 Association of British Theatre Technicians 52,800

Total as Schedule 1 £318,381

Housing the Arts

Music London : Croydon Borough Council - Fairfield Halls 1,500 London Festival Ballet Trust Limited 75,000 76,500 Drama Cambridge Arts Theatre Trust 1,500 Canterbury Theatre Trust Limited 5,000 Derby Playhouse Trust 40,000 Liverpool : Merseyside Everyman Theatre Company Limited 90,000 London: Camden Playhouse Productions Limited 6,000 Inter Action Trust Limited 194,000 New Shakespeare Company Limited 10,000 Manchester : Royal Exchange Theatre Trust 50,000 Manchester Young People's Theatre Limited 8,000 Salisbury Arts Theatre Limited 70,000 Westcliff : The Palace Theatre Trust Limited 650 475,15 0 Touring London: Merton Civic Theatre Trust Limited 5,000 Oxford : Howard and Wyndham Limited - New Theatr e 25,00 0 Reading Borough Council - The Hexagon 30,00 0 60.000 Art Lacock: Fox Talbot Museum 4,000 London : Acme Housing Association Limited 1,500 Newcastle : Amber Associates 8,000 Tyneside Fine Art Print Workshop 2,250 Nottingham: Midland Arts and Community Centre Limited 31,900 St. Ives : Penwith Galleries Limited 5,000 Stoke-on-Trent City Council - Hanley Art Gallery 7,000 59,65 0

671,300 78

Schedule 3 Arts Council of Great Britain

Brought forward 671,30 0 Arts Centres and other projects Bath Arts Workshop Limited 800 Birmingham : Cannon Hill Trust Limited 7,300 Blyth Art Council 2,000 Bracknell : South Hill Park Trust Limited 8,000 Bridgnorth : Salop County Council - Bridgnorth Joint Use Centre 20,000 Bridport and District Arts Society 4,000 Bristol : St. Paul's Area Community Enterprise Limited 3,500 Burnley : Mid-Pennine Association for the Arts 2,300 Chipping Norton Theatre Limited 3,950 Ellesmere College : Woodard Schools (Midland Division) Limited 12,500 Hexham : Northumberland County Council - Queen's Hall 8,000 Huddersfield : Kirklees Metropolitan Council - Arts Centre 1,350 Hyndburn District Council - Oswaldtwistle Town Hall 5,000 Leeds : Red Ladder Theatre Society 4,000 Liverpool: Bluecoat Society of Arts 5,000 Great Georges Community Arts Project Limited 20,000 London : Bedford Institute Association - Hoxton Hall 8,000 Keskidee Trust 30,000 Rotherhithe Industrial Buildings Preservation Trust Limited 8,500 Newcastle : Spectro Arts Workshop 8,500 Rossendale Borough Council - Haslingden Public Hall 2,500 Salisbury : St. Edmunds Arts Trust 5,000 Sheffield District Council - Hurlfield Campus 4,000 Shoreham Youth Workshop 1,000 Stamford Arts Centre Committee 5,000 Taunton Theatre Trust . 21,00 0 Washington Development Corporation - Biddick Farm Arts Centre 30,00 0 Watford: Pump House Theatre and Arts Trust Limited 2,500

Total as Schedule 1 £905,00 0

79

Schedule 4 Art exhibitions for the year ended 31 Alarch 1 977

Expenditure Transport 253,939 Organising 500,379 Insurance 15,61 6 Catalogues 178,648 Publicity 125,999 1,074,58 1 Less Income Admissions 100,987 Less VAT 7,480 93,50 7 Catalogue sales 98,983 Exhibition fees 18,295 Less VAT 1,355 16,94 0 Donations 228,202 437,63 2

Net Expenditure as Schedule 1 k636,949

Schedule 5 Special Funds Net assets at 31 March 1977

Nominal Market Book Value Value Value H. A. Thew Fund £ £ £ £ 3% British Transport stock 1978/88 2,105 1,294 1,937 31% conversion stock 2,810 885 2,768 Equities investment fund for charities 2,922 7,071 3,068

7,773 Debtors 99 Cash at Bank 314

8,186 Less Creditors 100 8,086

Mrs Thornton Fund 21% consolidated stock 665 139 489 3% British Transport stock 1978/88 355 218 337 51% funding stock 1982/84 110 96 100 5% Treasury stock 1986/89 1,825 1,176 1,588 Equities investment fund for charities 2,217 5,365 2,328

Carried forward 4,842 8,086 80

Schedule 5 Arts Council of Great Britain

Nominal Market Book Value Value Value

Brought forward 4,842 8,086 Debtors 140 Cash at Bank 1,552 6,534 LessCreditors 303 6,231

National Manuscript Collection of Contemporary Writers Fund Debtors 3,357 Cash at Bank 11,694 Stock 200 15,25 1

Compton Poetry Fun d Albright and Wilson Limited 234 862 872 BAT Industries Limited ordinary shares 240 2,544 932 deferred shares 20 188 78 Cadbury Schweppes Limited 500 880 862 Commercial Union Assurance Company Limited 240 1,132 842 County Council of Essex 51% redeemable stock 1975/77 1,000 1,013 966 Distillers Company Limited 345 924 719 Dowty Group Limited ordinary shares 788 1,921 1,004 7% convertible unsecured loan stock 1986/91 150 180 150 English and Scottish Investors Limited 1,600 3,968 1,590 Equities investment fund for charities 2,141 5,181 2,561 General Electric Company Limited : ordinary shares 201 1,423 337 unsecured capital notes 1986 200 202 44 George G . Sandeman Sons and Company Limited 750 1,200 1,275 Group Investors Limited ordinary shares 1,120 1,881 1,280 deferred shares 186 313 492 Liverpool Corporation 54% redeemable stock 1976/78 1,500 1,395 1,470 London Scottish American Trust Limited 600 2,808 1,680 Lyon and Lyon Limited 375 465 1,067 Royal Insurance Company Limited 131 1,664 958 Shell Transport and Trading Company Limited 250 4,860 2,079 21,25 8 Debtors 1,479 Cash at Bank 6,195 28,932 Less Creditors 600 28,332

Carried forward 57,900 8 1

Arts Council Schedule 5 OF GREAT BRITAIN

Value Value Value Nominal Market Book £ £ £ £ Brought forward 57,900

Henry and Lily Davis Fund London County 51% stock 1985/8 7 50,000 32,500 33,500 Equities investment fund for charitie s 17,464 42,262 34,192

Debtors Cash at Bank 76,924

The Guilhermina Suggia Gift 3+% war stock 6,746 2,125 4,896 31% funding stock 1999/2004 4,682 1,662 3,863 Equities investment fund for charities 1,165 2,820 2,000

10,759 Debtors 27 Cash at Bank 1,819 12,60 5

(Note: Messrs. Coutts and Company act as Special Trustee to this fund)

The Miriam Licette Scholarship Equities investment fund for charitie s 9,019 21,825 18,147 Debtors 138 Cash at Bank 5,856 24,141

Dio Fund Equities investment fund for charitie s 674 1,631 1,797 Debtor 8 Cash at Bank 660 2,465

Miss O . E. Saunders Fund Debtor

Total as Balance Sheet

82

Schedule 6 Special Funds Capital and Reserves at 31 March 1977

H. A. Thew Fund Capital account 7,773 Income account: Balance at 31 March 197 6 Add Income during yea r 1,713 Less Expenditure during yea r 1,400 313 - 8,086 Mrs Thornton Fun d Capital account Income account: Balance at 31 March 197 6 1,588 Add Income during yea r 748 2,336 Less Expenditure during year 1,225 1,111 6,231 National Manuscript Collection of Contemporary Writers Fun d Capital account 10,000 Income account : Balance at 31 March 197 6 4,221 Add Income during year 4,018 8,239 Less Expenditure during year 2,988 5,251 15,25 1 Compton Poetry Fund Capital account 21,20 5 Income account: Balance at 31 March 197 6 10,292 Add Income during year 2,943

Less Expenditure during year 7,127 28,33 2 Henry and Lily Davis Fun d Capital account Income account: Balance at 31 March 197 6 14,91 1 Add Income during yea r 6,765

Expenditure during year Less It OIA

Carried forward Arts Council Schedule 6 OF (,RF .AT BRITAI\

Brought forward 134,824 The Guilhermina Suggia Gift Capital account 11,774 Income account : Balance at 31 March 197 6 1,656 Add Income during yea r 716

2,372 Less Expenditure during year 1,541 831 12,60 5 The Miriam Licette Scholarship Capital account 18,64 7 Income account : Balance at 31 March 197 6 4,572 Add : Income during yea r 2,137

6,709 Less Expenditure during year 1,215 5,494 24,14 1 Dio Fun d Capital account 2,000 Income account : Balance at 31 March 197 6 306 Add Income during yea r 159 465 2,465 Miss O. E. Saunders Fun d Income account : Balance at 31 March 1976

Total as Balance Sheet

84 The Scottish Arts Council Income and expenditure accoun t for the year ended 31 March 1977

1976 1977

Income 3,100,000 Grant from the Arts Council of Great Britain 4,534,900 Provision for grants and guarantees in previou s 14,565 year not required 27,48 1 64,083 Transfer from reserve for capital expenditure 1,065 - Transfer from capital account 19,82 6 Miscellaneous Incom e 8,225 Bank interest 4,286 1,751 Donations 2,196 1,766 Realisation of assets 71,49 6 3,541 Sundry 224 15,283 78,202

3,193,931 4,661,474 Less Expenditure 2,830,709 General expenditure on the arts (see Schedule 1) 4,293,744 257,469 General operating costs (see Schedule 2) 256,289 101,576 Capital expenditure transferred to capital account 30,16 5 1,065 Reserve for capital expenditure 34,77 2 3,190,819 4,614,970

3,112 Excess of income over expenditure 46,504 39,133 Add Balance brought forward at 1 April 1976 42,245

£42,245 Balance carried forward to Balance Sheet £88,749

85 The Scottish .Axts Council Balance Sheet at 31 March 1977

1976 1977

Fixed assets (see Note 1 ) 191,163 Freehold property 144,24 1 151,400 Leasehold property improvements 155,40 0 34,416 Office equipment 25,34 7 - Mobile Gallery 750 10,283 Motor vehicles 13,24 1 409 Pianos - 23,589 Art Exhibition equipment 15,787 68,525 Works of art 83,475

483,785 438,24 1 Current assets Securedloans 1,733 Balance at 31 March 1976 1,133 600 Less Repaid during year 633 1,133 500 Stock 664 Shop - 1,023 Restaurant and bar - 263 Coffee House 299 1,950 299 Debtors and prepayments 320,000 Grants and guarantees paid in advance 669,000 1,558 Expenditure on future exhibitions 5,083 54,982 Sundry debtors and prepayments 49,303 376,540 723,386 - Cash in transit 6,400 4,776 Cash at bank and in hand 2,093

868,184 1,170,91 9 Less Current liabilities 279,681 Grants and guarantees outstanding 576,21 6 61,408 Sundry creditors and accrued liabilities 32,941 341,089 609,15 7

£527,095 Total net assets £561,762

Capital account 389,646 Balance at 31 March 1976 483,78 5 Add Capital expenditure transferred from incom e 101,576 and expenditure account 30,165

491,222 513,95 0 Less Capital items transferred to income and expenditure account 19,82 6 7,437 Book value of assets sold or written off 55,88 3 7,437 75,70 9

483,785 Carried forward 438,241

86

Balance Sheet 1976 1977

483,785 Brought forward 438,241 42,245 Income and expenditure account 88,749 1,065 Reserve for capital expenditure 34,772

£527,095 Total capital and reserves £561,762

Chairman of the Scottish Arts Council : BALFOUR OF BURLEIGH

Secretary General : ROY SHAW

Notes to Balance Sheet

Note 1 Book value Items sold Book value Fixed assets at 31 March Additions or written at 31 March 1976 at cost off 1977

Freehold property at cos t 5 Blythswood Square, Glasgow-acquisition 35,661 35,661 5 Blythswood Square, Glasgow - improvements 12,456 12,45 6 336, 348 & 350 Sauchiehall Street, Glasgow - acquisition 39,881 39,88 1 336, 348 & 350 Sauchiehall Street, Glasgow - improvements 103,165 1,195 104,36 0 Leasehold property improvements at cost 19/20 Charlotte Square, Edinburgh 110,848 110,84 8 29 Market Street, Edinburgh 44,552 44,552 Office equipment at valuation at 31 March 1955 and at cost 34,416 3,311 12,380 25,347 Mobile Gallery 750 750 Motor vehicles at cost 10,283 5,681 2,723 13,24 1 Pianos at valuation at 31 March 1955 and at cost 409 409 Art Exhibition equipment at cost 23,589 4,278 12,080 15,78 7 Works of art at cost 68,525 14,950 83,475

£483,785 £30,165 £75,709 £438,241

Note 2 No provision has been made for depreciation of assets : renewals are charged against income .

Note 3 Indemnities entered into by the Scottish Arts Council'in respect of objects borrowed for exhibition purposes totalle d not more than £ 139,400 at 31 March 1977.

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations tha t I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properl y drawn up so as to exhibit a true and fair view of the transactions of the Scottish Arts Council and of the state of their affairs . Signed : D. O. Henley Comptroller and Auditor General Exchequer and Audit Department 26th August 1977 87

Schedule i General expenditure on the arts in

Scotland for the year ended 31 Jlarch 1 97

£ £ £ Music Grants and guarantees (see Schedule 3 ) 2,210,539 Opera for All : Expenditure 6,485 Less Income 6,667 Less VAT 474

292 Concerts: Expenditur e 19,86 5 Less Income 21,12 1 Less VAT 1,801

545 - 2,211,376 Drama Grants and guarantees (see Schedule 3 ) 887,132 Tours : Expenditure 4,862 Less Income 4,912 Less VAT 520

470 887,602 Touring Grants and guarantees (see Schedule 3 ) 98,370 Add Publicity 4,123

102,49 3 Less Local Authority contributions Aberdeen District Counci l 11,41 0 Edinburgh District Council 1,193 Glasgow District Counci l Strathclyde Regional Counci l 41,450 61,043 Art Grants and guarantees (see Schedule 3 ) 211,584 Exhibitions : Expenditure 133,562 Less Income 12,413 Less VAT 509 11,904 121,65 8 Fruit Market Gallery, Edinburgh 7,564 Gable Ends Project s 1,851 Provision of Studios 9,535 Commission 300

Carried forwar d 352,492 3,160,021 88

Schedule 1 The Scottish Arts Counci l

Art (continued) Brought forward 352,492 3,160,02 1 Art Film Tours : Expenditure 1,202 Less Income 505 Less VAT 38 467 735 Lecturers' fees and expenses 5,865 Less Income 1,406 Less VAT 104 1,302 4,563 357,790 Films Grants and guarantees (see Schedule 3) 14,925

Literatur e Grants and guarantees (see Schedule 3) 114,17 0 Poetry readings 2,766 Writers in Schools and in Public : fees and expenses 11,16 1 Less Income 4,719 Less VAT 323 4,396 6,765 Writers' accommodation 307 Miscellaneous expenses 2,894 126,902 Festivals Grants and guarantees (see Schedule 3) 230,00 1 Projects, arts centres and clubs Grants and guarantees (see Schedule 3) 275,60 5 Housing the art s Grants (see Schedule 3) 128,500

Net expenditure as income and expenditure account £4,293,744

89

Schedule 2 General operating costs in

Scotland for the year ended 31 lurch 1977

Salaries and wages 136,368 Arts Council of Great Britain Retirement Pla n 12,493 Travelling and subsistence 20,841 Rent and rates 7,094 Fuel, light and house expense s 15,78 1 Publicity and entertainment 14,23 3 Postage and telephone 15,600 Stationery and printing 8,088 Professional fees 1,094 Enquiries, surveys and investigation 13,16 1 Office and sundry expenses 11,53 6

Total as income and expenditure account £256,289

90

Schedule 3 Grants and Guarantees for the year ended 31 March 1977 (including subsidies offered but not paid at that date )

Music

Aberdeen : Haddo House Choral Society 2,300 Ayr : Intimate Opera Group 1,200 Dundee : Tayside Opera 1,100 Edinburgh : Edinburgh Grand Opera Group 1,600 m urg pera ompany 300 South Side Opera Arts Guild 1,000 Glasgow : The Cecilian Society 400 Scottish Opera Limited 1,147,245 1,155,145

Scottish Theatre Ballet Limited 455,50 0

Concert s Aberdeen : Aberdeen Chamber Music Club 750 Haddo House Choral Society 1,000 Platform Aberdeen 1,000 Aboyne : Grampian Regional Council 122 Airdrie Arts Guild 250 Alloa Music Club 140 Arran Music Society 550 Atholl Arts Guild 300 Ayr Music Club 600 Badenoch Arts Club 300 Banffshire Arts Guild 200 Beith Arts Committee 300 Biggar Music Club 900 Black Isle Arts Society 70 ' Brechin Arts Guild 65 Bridge of Allan and District Music Club 650 Bute Arts Society 90 Carnoustie Music Club 450 Cove and Kilcreggan Literary Society 150 Cowal Music Club 800 Cumbernauld Arts Guild 800 Cumnock Music Club 700 Dalkeith and District Arts Guild 440 Dingwall and District Arts Guild 650 Dollar Music Society 450 Dumfries : Dumfries Music Club 600 Guild of Players 1,000 Dunblane Cathedral Arts Guild 500 Dundee : Dundee Chamber Music Club 750 Dundee and District Society of Organists 80 University of Dundee 350 Dunfermline Arts Guild 350 East Kilbride Music Club 280 East Lothian Arts Association 109 Eastwood Music Society 800

Carr ied forward 17,176 1,610,645 9 1

The Scottish Arts Council Schedule 3

Brought forward 17,176 1,610,645 Edinburgh : City of Edinburgh District Council 9,000 Edinburgh Folk Club 50 Edinburgh Organ Recitals Committee 3SO Edinburgh Playhouse Society 600 Edinburgh Quartet Trust 7,500 Heriot-Watt University Music Society 270 Incorporated Society of Musicians 50 _ Martin Chamber Concerts Society 900 New Town Concerts Society 1,050 Phillips and Williams 1,685 Platform Edinburgh 2,100 The Saltire Society 75 University of Edinburgh 310 Fife Education Authority/The Arts in Fife 2,000 Forfar Arts Guild 130 Forres Entertainment Committee 380 Gatehouse Musical Society 400 Glasgow : John Currie Singers Limited 5,600 James Durrant 175 Glasgow Chamber Music Society 850 Masterconcerts Limited 3,250 Platform Glasgow 2,100 Glenkens and District Music Club 450 Greenock Chamber Music Club 575 Gruinard Arts 230 Haddington: Lamp of Lothian Collegiate Trust 300 Hamilton Civic Society Arts Circle 550 Hawick Music Club 650 Invergordon Arts Society 700 Inverness : Inverness Musical Society 250 Platform Inverness 750 Irvine : Harbour Arts Centre 800 Kelso Music Society 560 Kilmardinny Music Circle 850 Kintyre Music Club 430 Kirkcudbright Audience Club 650 Lanark Arts Guild 130 Linlithgow Arts Guild 750 Livingston Sponsorship Committee 40 Lochaber Music Club 375 Lockerbie Musical Society 350 Melrose Music Society 650 Miingavie Music Clu 800 Moffat and District Musical Society 135 Moray Arts Club 600 Moray District Council 2,635 Musselburgh Arts Guild _ X400 _ Nairn Music Club 100 Newton Stewart and District Music Club 350 North Ayrshire Arts Centre 1 100 Oban Music Society X900

Carried forward 73,061 1,610,645 92

Schedule 3 The Scottish Arts Counci l

Brought forward 73,061 1,610,645 Orkney Arts Society 900 Par Mains Music Society 500 Peebles : Music in Peebles 450 Perth Chamber Music Society 3,280 Renfrew District Arts Guild 1,600 St Andrews: St Andrews Music Club 650 St Andrews University Musical Society 520 Saltcoats, Ardrossan and Stevenson Arts Guild 45 Shetland Arts Society 750 Skye Arts Guild 550 South West Ross Arts Society 200 Stonehaven Music Club 530 Stranraer Music Association 1,000 Strathaven Arts Guild 600 Strathearn Arts Guild 780 Strathspey Arts Guild 500 Sutherland Arts Committee 500 Tain and District Arts Society 500 Thurso Live Music Association 1,150 West Linton Musical Society 280 Wick Arts Club 650 National Federation of Music Societies 10,500 New Music Group of Scotland Trust 5,150 Rehearsal Orchestra 142 Scottish National Orchestra Society Limited 331,05 0 Scottish Philharmonic Society Limited 120,00 0

555,83 8 Contemporary Music Network University of Aberdeen 1,340 University of Edinburgh 1,730 University of Glasgow 1,530 University of St Andrews 1,820 University of Stirling 1,580 8,000 563,838 Other Activities Awards 8,320 Commissions and Performing Material 9,21 1 Pianos : North of Scotland Music School Limited 600 Orkney Arts Society 3,500 Strathclyde Regional Council 2,000 6,100 Edinburgh Playhouse Society 1,500 Kim Parish Church 675 Scottish Music Archive 8,250 Scottish Pipe Band Association 2,000 36,056

Total as Schedule 1 £2,210,539

93

The Scottish Arts Council Schedule 3

Crieff: Ochtertyre Theatre Limited 5,000 Dervaig Arts Theatre Limited 6,000 Dundee Repertory Theatre Limited 89,13 5 Edinburgh : Edinburgh and Lothian Theatre Trust Limited 186,225 Royal Lyceum Theatre Company Limited 17,63 5 Theatre R'orkshop, Edinburgh 13,05 0 Traverse Theatre Club 69,12 8 Glasgow : Citizens Theatre Limited 169,28 5 Dolphin Arts Centre 180 Strathclyde Theatre Group 735 Irvine : Borderline 28,400 Perth Repertory Theatre Limited 70,87 5 Pitlochry Festival Society Limited 80,05 0 St Andrews : The Byre Theatre of St Andrews Limited 24,69 1 Aberdeen University Celtic Society 200 Abrakadabra 230 The Adam Smith Centre 1,987 CAST 45 Circuit Area Playscheme 50 Clerwood Children's Theatre 1,719 Council of Regional Theatre 150 Counter Act 721 Derek Carpenter Productions 250 Pat Douthwaite 700 Gay Sweatshop 487 Guizer 60 The Heretics 7,488 International Fringe Limited 800 The Long Green Theatre Company 2,437 Mad Bongo Theatre Group 232 National Student Drama Festival 1,500 Northfield Community Centre 801 Ossianic Society, University of Glasgow 350 Pirate jenny 850 Playtime Aberdeen 969 Pluto Press 750 Recreation Ground Theatre Company Limited 340 Red Ladder Theatre Company 1,349 Richard Demarco Gallery Limited 2,000 Bettie Scott 154 Scottish Society of Playwrights 16,000 7 :84 Theatre Company (Scotland) Limited 44,78 5 Shanter Productions 500 Theatre of Light and Shadow 989 Tie-Up Theatre Company 22,673 Wakefield Tricycle Company 107 Welfare State 600 Women's Theatre Group 600

Carried forward 873,262 94

Schedule 3 The Scottish Arts Council

Brought forward 873,262 Training Schemes Bursaries 13,87 0

Total as Schedule 1 £887,13 2

Stage I Touring Music English National Opera 9,000 Scottish Opera Limited 5,416 Scottish Theatre Ballet Limited 1,589 Mercury Theatre Trust Limited (Ballet Rambert) 5,000 21,005 Drama Cambridge Theatre Company Limited 1,383 Edinburgh and Lothian Theatre Trust Limited 36,686 New Shakespeare Company Limited 4,000 Perth Repertory Theatre Limited 756 Pitlochry Festival Society Limited 3,600 Prospect Productions Limited 4,261 Royal Shakespeare Theatre 18,000 Travelling Playhouse Limited 2,449 Triumph Theatre Productions Limited 2,500 Welsh National Opera and Drama Company Limited 3,730 77,365

Total as Schedule 1

Art Aberdeen: Aberdeen Artists Society 40 Peacock Printmakers 10,000 Dundee: Printmakers Workshop Limited 8,800 Edinburgh : City of Edinburgh District Council 500 Edinburgh College of Art 250 Forum on Avant Garde Film 7,390 New 57 Gallery Association 5,250 The Printmakers Workshop Limited 7,365 Richard Demarco Gallery Limited 48,000 Royal Scottish Academy 10,000 The Torrance Gallery 190 University of Edinburgh : Talbot Rice Art Centre 495 Edinburgh University Press 12,000 Gatehouse of Fleet Community Council 75 Glasgow : Compass Gallery Limited 9,400 Glasgow League of Artists Limited 2,300 Glasgow Print Studio Limited 12,80 0 Glasgow School of Art 488 Glasgow Society of Women Artists 143 Glenshee Sculpture Park 500 Helensburgh and District Art Club 466

Carried forward 136,45 2 95

The Scottish Arts Council Schedule 3

forward Inverness Museum and Art Gallery 1,975 Kirkcaldy Art Gallery 150 Lanark: The Present Gallery 600 Lower Largo : The Loomshop Gallery (Lower Largo) Limited 1,168 Montrose : Kirktower House 120 Oban Art Society 367 Orkney : Pier Arts Centre Trust 500 Perth Art Gallery 1,250 Stirling : The Stirling Gallery 7,500 University of Stirling 500 Canadian High Commission 1,441 Douglas Cocker 2,000 Craiglockhart College of Education 500 Edinburgh Video Access 60 Geoffrey MacEwan 150 Octagon Gallery 24U Dr Alistair Rowan 4,680 Sigfrid Sapietis 100 Scottish Council of Social Service 500 Scottish Photography Group 10,600 Scottish Society of Women Artists 375 Spaceplace 3,205 Ken Wolverton 1,800

Artists in Residence James Howie : Dudhope Arts Centre 3,000 Alison McCallum : Livingston Development Corporation 2,500 Ian McCulloch : Gardner Centre for the Arts 600 6,100 Awards to Artists Awards 13,55 1 Commissions 15,700 29,251

Total as Schedule I

Films Films of Scotland : Writer-in-Residence : Donald Campbell 7,000 Norman McCaig 500 Animated Film : John Byrne 7,425

Total as Schedule 1 £14,92 5 Literature An Comunn Gaidhealach 1,000 Claddagh Records Limited 1,700 Gaelic Books Council 7,000 Hamilton College of Education 300 Heatherbank Press 1,000

Carried forward 11,000 96

Schedule 3 The Scottish Arts Council

£ £ Brought forward 11,00 0 International PEN - Scottish Centre 500 Dr T. Kinninmont (Publishing Research Fellowship) 2,500 Meet the Author 1976 1,500 National Library of Scotland 2,000 Scotsoun 405 Sabhal Mor Ostaig 1,040 Scottish Association of Magazine Publishers 2,500 Scottish Association of Writers' Circles 120 Scottish General Publishers' Association 3,500 Scottish Open Poetry Competition 100 25,165

Publications `Akros' 3,450 `Calgacus' 1,200 `Chapman' 1,750 `Gairm' 3,900 `Lallans' 150 `Leopard' 470 `Lines Review ' 2,400 `New Edinburgh Review' 1,200 Play Scheme newspaper 266 `Prospice' 300 `Scotia Review' 900 `Scottish Literary journal' 700 `Scottish Review' 2,800 `Tocher ' 1,400 20,886

Poetry Readings An Comunn Gaidhealach 88 Federation of Children's Book Groups - Edinburgh 200 Inverness 45 Glasgow Writers Club 50 Radio Forth 500 `Scotia Review' 391 Scottish Association for the Speaking of Verse 50 Sean Murphy 100 University of Edinburgh 100 University of Glasgow 100 1,624

Writers in Residenc e Donald Campbell : Lothian Regional Council Writers in Schools 2,000 John Herdman: University of Edinburgh 3,000 Angus Nicholson : Sabhal Mor Ostaig 3,000 Sam Selvon : University of Dundee 2,750 Alan Spence : University of Glasgow 2,000 12,750

Carried forward 60,425 97

The Scottish Arts Council Schedule 3

£ £ Brought forward 60,42 S Grants to Publishers George Allan and Unwin Limited `Mother of all Peoples ' by James Buchan 400 Aquila Publishin g `The Countrv Stick' by John Purser 125 William Blackwood and Son Limited `Modern Scots Verse' edited by Maurice Lindsay 1,600 Canongate Press Limited `By Law Protected' by Alastair Campsie 500 `The Creatures of the Carp' by Roland Portchmouth 500 `Weathering' by Alistair Reid 600 Carcanet Press Limited (contributors fees ) `Scottish Satirical Verse ' edited by Edwin Morgan 200 Chatto and Windus Limite d `South Wind of Love' by Compton Mackenzi e `Selected Poems' by Norman MacCaig 300 Wm. Collins Sons and Company Limited 1977 Volume of Scottish Short Stories edited by S . A. C. 1,900 `Mary of Guise' by Rosalind Marshall 500 `Its Colours They Are Fine ' by Alan Spence 800 John Donald `The Northern Isles of Scotland' by Alexander Fenton 1,500 Edinburgh University Press `Language, Social Class and Education' by R. K. S. MacAuley 700 `Hume Conference' edited by G. P. Morice 500 Edinburgh University Students Publications Board `Elegies for the Dead in Cyrenaica' by Hamish Henderson 300 Fudge and Company Limite d `Tales of the North Coast ' edited by Alan Temperley 600 Hamish Hamilton `Falstaff' by Robert Nye 600 Paul Harri s `The Jesuit' by Donald Campbell 600 `A Suburb of Belsen ' by Stanley Roger 220 M Macdonald Printers (Edinburgh) Limite d `Lines Review Edition 6' by Roderick Watson 300 `Collected Poems ' by Robert Garioch 200 MacDonald Printers `Memorial Volume for the late Douglas Young ' edited by David Murison 850

`Poems from a Monastery Gae Wrang' by Rayne Mackinnon 150 Martin Brian and O'Keeffe Limited `The Complete Poems of Hugh MacDiarmid' by Hugh MacDiarmid 10,000 Ramsay Head Pres s 13 Volumes ofNew Assessment Series' edited by Robert Nye and Douglas Gifford 1,500 Scottish Academic Press `Last of the Lairds' by John Galt 500 Souvenir Press Limite d `The Grey Coast ' by Neil Gunn 500

Carried forward 26,745 60,425 98

Schedule 3 The Scottish Arts Council

Brought forward 26,745 60,425 `Young Art and Old Hector' by Neil Gunn 500 `And the Cock Crew' by Fionn MacColla 500 `Butchers Broom' by Neil Gunn 600 `Whisky in Scotland' by Neil Gunn 600 `Contemporary Scottish Verse - The Seventies' edited by Alexander Scott 250 University of Glasgow Extra Mural Department `Like Tracks of Birds' edited by K . L. Dobie 100 University of Glasgow Press `Scottish Language and Literature, Medieval and Renaissance ' by R. K. S. MacAuley 500 ^^ ^^ '

Munro Award iuu Book and New Writing Awards 3,200 Book Design Awards 1,400 Bursaries 19,00 0 Travel Grant 250 23,950

Total as Schedule 1 £114,17 0

Festivals Aberdeen: City of Aberdeen District Council 400 Edinburgh : Craigmillar Festival Society 1,500 Edinburgh Festival Fringe Society Limited 8,900 Edinburgh Festival Society Limited 215,00 0 Kelso Arts Festival Association 132 Moray Arts Club : Gordonstoun Festival 200 Perth Festival of the Arts 2,769 St Andrews Festival 1,000 Traditional Music and Song Association of Scotland : Keith Festival 100

Total as Schedule 1 £230,001

Projects, Arts Centres and Club s Aberdeen Arts Council Association 1,300 C:umbernauld : The Cottage Theatre 10,000 East Kilbride Civic Theatre 10,000 Glasgow : Glasgow Arts Centre Trust Limited 5,000 Third Eye Centre (Glasgow) Limited 99,826 Greenock Arts Guild 400 fiaddington : The Lamp of Lothian Collegiate Centre 3,000 Inverness : Eden Court Theatre 61,25 7 Kirkcaldy : Adam Smith Centre 5,500 Orkney : Pier Arts Centre Trust 20,000

Carried forward 21 99

The Scottish Arts Council Schedule 3

Brought forward 216,28 3 Prestwick Arts Guild 565 Troon Arts Guild 330 University of Stirling : MacRobert Centre 52,250 The Association of Arts Centres in Scotland 2,885 Highland Regional Council 292 Scottish Civic Entertainments Association 3,000

Total as Schedule 1 £275,60 5

Housing the Arts Cumbernauld Cottage Theatre Group (Cottage Theatre) 23,500 Inverness District Council (Eden Court Theatre) 90,000 Traverse Theatre Club 15,000

Total as Schedule I £ 128,500

100 The Welsh Arts Council Income and expenditure account for the year ended 31 March 1977

1976 1977 £ £ £ £ Income 2,402,940 Grant from the Arts Council of Great Britain 2,873,048 Provision for grants and guarantees in previou s 2,602 year not required 13,185 8,874 Transfer from reserve for capital expenditure 1,562 Miscellaneous Incom e 17,288 Bank interest 19,34 8 1,587 Realisation of assets 2,31 1 2,942 Sundry 384 21,817 22,043

2,436,233 2,909,838 Less Expenditur e 2,177,766 General expenditure on the arts (see Schedule 1) 2,623,698 184,957 General operating costs (see Schedule 2) 218,67 7 24,226 Capital expenditure transferred to capital account 45,245 1,562 Reserve for capital expenditure 8,808 2,388,511 2,896,428

47,722 Excess of income over expenditure 13,41 0 10,939 Add Balance brought forward at 1 April 1976 58,66 1

£58,661 Balance carried forward to Balance Sheet £72,071

101 The Welsh Arts Council Balance Sheet at 31 _March 1 977

1976 1977 £ £ £ £ Fixed assets (see Note 1 ) 15,921 Leasehold property improvements 25,863 20,651 Office equipment 27,45 5 17,542 Motor vehicles 19,72 6 6,108 Art Exhibition equipment 9,702 56,830 Works ofart 83,25 7

120,052 166,00 3 Current assets Stock 17,413 Bookshop 23,463 Debtors and prepayment s 158,600 Grants and guarantees paid in advance 223,30 0 5,489 Expenditure on future exhibitions 898 46,098 Sundry debtors and prepayments 26,597 240,187 250,79 5 15,458 Cash at bank and in hand 297

393,110 Total fixed and current assets 440,55 8 Less Current liabilities 85,864 Grants and guarantees outstanding 130,02 0 48,971 Sundry creditors and accrued liabilities 63,65 6 75,000 Due to Arts Council of Great Britain - 212,835 193,67 6

2;180,275 Total net assets £246,882

Capital account 100,410 Balance at 31 March 1976 120,05 2 Add Capital expenditure transferred from incom e 24,226 and expenditure account 45,245 1,310 Gifts 400 1,132 Adjustments from previous years 5,073 26,668 50,71 8

127,075 170,77 0 7,026 Less Book value of assets sold or written off 4,767

120,052 166,00 3 55,661 Income and expenditure account 72,071 1,562 Reserve for capital expenditure 8,808

/;150,275 Total capital and reserves £246,882

Chairman of the Welsh Arts Council : SHIRLEY ANGLESEY

Secretary General : ROY SHAW 102

The WelshArts Council Notes to Balance Sheet

Note 1 Book value Adjustments Book value at 31 March Additions Gifts at from previous Items sold at 31 March Fixed Assets 1976 at cost valuation years or written off 1977

Leasehold property improvements at cost : Holst House, Museum Place, Cardiff 4,704 4,704 53 Charles Street, Cardiff 14,217 6,942 21,15 9 Office equipment at cost 20,651 7,230 426 27,45 5 Motor vehicles at cost 17,542 5,046 2,862 19,72 6 Art Exhibition equipment at cost or valuation on acquisition 6,108 5,073 1,479 9,702 Works of art at cost or valuation on acquisition 56,830 26,02"/ 400 83,257

£120,052 £45,245 £400 £5,073 £4,767 £166,003

Note 2 No provision has been made for depreciation of assets : renewals are charged against income .

Note 3 Indemnities entered into by the Welsh Arts Council in respect of objects borrowed for exhibition purposes totalle d not more than £410,400 at 31 March 1977 .

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up s o as to exhibit a true and fair view of the transactions of the Welsh Arts Council and of the state of their affairs .

Signed : D. O. Henley Comptroller and Auditor General Exchequer and Audit Department 26th August 1977 103

Schedule i General expenditure on the arts

in fales Y for the rear ended 31 March 1977

Music Grants and guarantees (see Schedule 3) 829,229

Concerts: Expenditure 144,54 1 Less Income 38,493 Less VAT 2,324 36,169 108,37 2 Recording of Welsh Music 8,725 Young Welsh Singers Competition 3,01 3 Scheme and project expenses 162 949,50 1 Drama Grants and guarantees (see Schedule 3) 717,53 9 Schemes and project expenses 154 717,693 Art Grants and guarantees (see Schedule 3) 67,51 2 Exhibitions: Expenditure 92,931 Less Income 4,756 Less VAT 344 4,412 88,51 9 Art Film Tours : Expenditure 1,250 Less Income 675 Less VAT 50 625 625 Publications : Expenditure 6,175 Less Income 507 Less VAT 40 467 5,708

Gallery improvements : Consultancy fees 3,727 Schemes and project expenses 2,422 168,51 3 Literature Grants and guarantees (see Schedule 3) 180,97 0

Exhibitions: Expenditure 4,755 Less Income 2,269 Less VAT 18 2,251 2,504

Carried forward 183,474 1,835,707 104

Schedule 1 The Welsh Arts Council

Brought forward 183,474 1,835,70 7 Projects and competitions expenses 8,472 191,946 Festivals Grants and guarantees (see Schedule 3) 42,525

Arts Association s Grants and guarantees (see Schedule 3) 193,50 0

Arts centres and project s Grants and guarantees (see Schedule 3) 143,648 Publications 2,075 145,72 3 Housing the Arts Grants (see Schedule 3) 116,50 0

Oriel Expenditure including operating costs 99,03 1 Less Income 39,020 Less VAT 1,071 37,949 61,082 Art activities 18,12 9 Literature activities 18,586 97.797

Net expenditure as income and expenditure account £2,623,698

Schedule 2 General operating costs in Wales for the year ended 31 March 1977

Salaries and wages 130,105 Arts Council of Great Britain Retirement Plan 14,61 5 Travelling and subsistence 25,103 Rent and rates 11,73 8 Fuel, light and house expenses 4,441 Publicity and entertainment 4,773 Postage and telephone 13,32 0 Stationery and printing 3,643 Professional fees 5,172 Office and sundry expenses 5,767

Total as income and expenditure account £218,677

105

Schedule 3 Grants and Guarantees in Wales for the rear ended 31 March 1977 (including subsidies offered but not paid at that date )

Music

Opera Welsh National Opera and Drama Company Limited 600,00 0

Dance Contemporary Dance Company 4,000 Molly Kenny 5,000 Moving Being 51,000 Polytechnic of `Vales 1,926 Welsh Dance Theatre Trust 1,000

Other Activities BBC Welsh Symphony Orchestra 95,000 Merlin Music Society 2,250 Welsh Amateur Music Federation 33,000 Welsh Music Archive 7,500 Youth and Music (Wales) 4,000 141,75 0 Publications Guild for the Promotion of Welsh Music 2,500 Guild for the Promotion ofWelsh Music Catalogue 600 University College Cardiff: `Soundings' 325 3,425 Bursaries for advanced study 10,53 3 Commissions to composers 10,59 5

Total as Schedule 1 £829,22 9

Drama

Mixed Programme Theatres Bangor: Theatr Gwynedd 54,70 0 Cardiff: New Theatre Trust 23,12 5 Sherman Theatre 56,00 0 Milford Haven : Further E ucanon ommittee 520 Mold : Theatr Clwyd 60,00 0 Swansea : Grand Theatre 10,60 0 204,945 Community Theatre Drama Association of Wales 3,500 Foco Novo 700 Grass Roots Theatre Company 187 Llandovery Festival 250 Llandovery Theatre Committee 1,450 Open Cast Theatre 10,000 Theatr Powys 4,000 Transitions Trust 235 20,322

Carried forwar d 106

Schedule 3 The Welsh Arts Council

Brought forward 225,267 Experimental Theatre Cardiff Laboratory for Theatrical Research 4,000 Dek Leverton 1,862 Highway Shoes Company 13,000 Red Light Theatre 500 19,36 2 Production Units Cwmni Theatr Cymru 145,000 Welsh Drama Company 159,700 Theatr Yr Ymvlon 49,532 354,232 Periodicals `Llwyfan' 947

Youne People's Theatre ASSITEJ 5,000 Cardiff Open Air Theatre 26,160 Caricature Theatre 43,500 Cwmni Theatr y Werin 6,000 Gwent Theatre in Education 5,000 Standing Conference of Young People 's Theatre 400 Welsh Drama Company (CASCO) 6,000 92,060

Bursaries and travel grants 17,94 1 Commissions 3,730 Small capital grants Chapter (Cardiff) Limited : Highway Shoes 2,000 Theatr Clwyd: Grass Roots Theatre 2,000

Total as Schedule 1 £717,539

Art

University College, Aberystwyth 500

Grants and guarantees towards exhibition s Llantarnam Grange Arts Centre 500 Newport Museum and Art Gallery 150 Royal National Eisteddfod of Wales 10,00 0 South Wales Group 2,250 The Welsh Association 1,760 University College, Aberystwyth 1,800 University College, Cardiff 1,325 17,78 5 Grant aid for Commissions and Purchases Contemporary Art Society for Wales 1,000

Carried forward 1,000 18,28 5 107

The Welsh Arts Council Schedule 3

£ £ Brought forward 1,000 18,28 5 Glyn Vivian Art Gallery and Museum 200 Royal National Eisteddfod 500 1,700 Grants towards Gallery Developments Gwynedd Archive Services 1,200 Theatr Gwynedd 1,300 2,500 Aid to Artists 44,82 7 Film making Chanter Arts Centr e 200

Total as Schedule 1 £67,51 2

Literature Arvon Foundation Limited 150 Eisteddfod Genedlaethol Aberteifi 3,926 Ilkley Literature Festival 120 North Wales Arts Association 600 Pryderi and His Pigs 500 South-East Wales Arts Association 500 Welsh Books Council 52,65 0 West Wales Arts Association 450 Yr Academi Gymreig 6,258 65,15 4 Bursaries and Travel Awards 27,086 Honours and Prizes 3,700

Grants to Publishers Yr Academi Gvmreig `Yr Adduned' by F. Durrenmatt, translated by Robat Powell 500 Christopher Davies Limite d `Triskel Poets' edited by Cary Archard 450 `Rites of Passage' by Anthony Conran 350 `Vernon Watkins and the Spring ofVision' byDora Polk 550 `A Guide to Welsh Literature II' edited by A . O. H. Jarman and G. R. Hughes 800 `Children's Bible in Colour' edited by Alan Llwyd 5,000 Cymdeithas Cerdd Dafo d `Cylchgrawn' 850 Enitharmon Press `The Ballad of the Outer Dark' by Vernon Watkins 225 Gwasg Gee `Swyddogaeth Beirniadaeth' by John Gwilym Jone s 1,000 `Ysgrifau Beirniadol X' edited by J . E. Caerwyn Williams 1,200 Gwase Gomer `David Jones' edited by Roland Mathias 600 'Poems '76' edited by Glyn Jones 850 `Wales Today' edited by Don Dale -Jones and R . Jenkins 600 `Dragon's Hoard' edited by Sam Adams and G . R. Hughes 600

Carried forward 13,575 95,940 108

Schedule 3 The Welsh Arts Council

Brought forward 13,S75 9S,940 'Rampage an Revel' by Harri Webb 2S0 `Storiau Tramor III' edited by Bobi Jones 600 `Storiau Tramor IV' edited by Bobi Jones 600 `Creative Conflict' by John Osmond 650 `Welsh Heirs' by Glyn Jones 600 'The orgotten Country' by Sally R. Jones 350 `20th Century Welsh Poems ' translated by Joseph Clancy 1,500 Gwasg Gwyned d `Y Ferch o Ddolwar Fach ' edited by Dyfnallt Morgan 450 John Jones (Cardiff ) `The Living Sleep' by Kate Roberts, translated by Ll. Wyn Griffiths 500 Jonathan Cape `Writings on Theatre and Drama' by F . Durrenmatt, translated by H . M. Waidson 500 Oxford University Pres s `The Oxford Book of Welsh Verse in English' edited by Gwyn Jones 1,500 Thames & Hudson `An Illustrated History of Wales' edited by Wynford V. Thomas 300 University of Wales Press (on behalf of the Welsh Arts Council ) `Writers of Wales' edited by Meic Stephens and R. Brinley Jones 1,000 `Dramiu'r Byd' edited by Gwyn Thomas 3,000 `Illustrated History of Welsh Literature' edited by Bedwyr Lewis Jones 3,000 28,375 Editorial grant s Gwasg Gomer 5,000 Christopher Davies Limited 5,000 10,00 0 Periodicals `The Anglo Welsh Review' 6,250 `Barn' 10,200 `Planet' 5,900 `Poetry Wales' 5,800 `Taliesin' 2,400 `Y Faner' 2,000 `Y Genhinen' 2,650 `Y Traethodydd' 1,600 36,80 0 Children's magazine s `Antur' 500 `Bore Da' 9,000 9,500 Little Magazines 355

Total as Schedule 1 £ 180,970

esti

Cardiff Festival of 20th Century Musi c 8,125 Fishguard Festival 1,500

Carried forward 9,625 109

The Welsh Arts Council Schedule 3

Llandaff Festival 8,125 Llangollen International Musical Eisteddfo d 13,12 5 Swansea Festiva l 8,750 Vale of Glamorgan Festiva l 2,900

Total as Schedule 1 £42,52 5

Arts Association s

North Wales Arts Association 55,50 0 South-East Wales Arts Associatio n 78,000 West Wales Arts Association 60,000

Arts Centres and Projects

Aberystwyth :Aberystwyth Arts Centre 39,000 Bangor : University College, Fellowship in Creative Writing 41600 Cardiff: Chapter (Cardiff) Limited 49,948 Gregynog Arts Fellowship 2,500 Harlech : Coleg Harlech Arts Centre 17,600

Wyeside : Wyeside Arts Centre 5,000

Total as Schedule 1 £ 143,648

Housing the Arts

Caernarvon : Seilo Hall 3,500 Cardiff: New Theatre Trust 70,000 Swansea : Grand Theatre 40,000 Wrexham : Grove Park Amateur Drama Society 3,000

Total as Schedule 1 £116,50 0

110

Table A Awards 1976177

England Geraldine Stephenso n Dave Brown Educational Dance-Drama Theatre Foco Novo Productions Music Jonathon Thorp e James Brown New London Ballet Leeds Philharmonic Societ y Choreographers Penny Ward Geoffrey Burgo n Micha Bergese Another Dance Group Tilford Bach Festiva l Junction Dance Compan y Leigh Warren James Butt Extemporary Dance Group Another Dance Group Jack Brymer Ailsa Berk Ballet Rambert Bernard Cas h Dance Theatre Commune Maggie White Jazz Centre Societ y Anna Blewchamp Extemporary Dance Grou p Thomas Chatburn Junction Dance Compan y Dee Woo d Oxford Polytechnic Orchestra l Rosemary Butche r Another Dance Grou p and Choral Society Rosemary Butcher Dance Company Graham Collier Nelson Fernandez Composer s Ilkley Literature Festiva l Ballet Rambert Denis ApIvor Arnold Cooke Terry Gilbert Redcliffe Concerts of British Musi c St. Albans Chamber Choi r Alexander Roy London Ballet Richard Arnell Brian Cooper Theatre London Philharmonic Orchestra West London Sinfonia Emilio Gritti Alison Bauld Edward Cowi e Ballet Rambert Jane Manning and Barry Guy Fitzwilliam String Quartet Zoltan Imre Malcolm Benne t Gordon Crosse Ballet Rambert (2) Children's Concert Centre Gardner Centre for the Arts Extemporary Dance Grou p Bernard Benoliel Hinckley Music Club Natasha Kornilof Dreamtiger Nash Ensemble New London Ballet Lennox Berkele y Sarah Franci s John Lansdown Royal Philharmonic Orchestr a Simon Desorgher Another Dance Group Michael Berkeley Hilliard Ensemble Cathy Lewis Burnham Market Concerts Stephen Dodgson Extemporary Dance Group Clifford Bevan Vienna Wind Quintet Sue Little Children's Concert Centre David Dorward Another Dance Grou p Judith Bingham Pelican Trio Royston Maldoom David Roblou Paul Drayto n Dance Theatre Commune Anton Weinberg Buckingham and District Music EMMA Dance Company Richard Blackford Society Ross McKim Blewbury Players Duncan Druce Another Dance Grou p Hinz and Kunst Ian Mitchell EMMA Dance Company Carey Blyton Judith Earl y Tamara McLorg Guildhall School of Music an d Another Dance Grou p EMMA Dance Company Drama David Ellis Extemporary Dance Grou p Christopher Bochmann New London Ensemble Henry Metcalfe Counterpoint Diana Fallas Educational Dance-Drama Theatre Derek Bourgeois The Wooburn Festival Society Mary Millban k Guildford Philharmonic Orchestra Michael Finnissy Cycles Dance Compan y Stroud Festival The Fires of London Jane Noonan Norfolk and Norwich Triennia l Sebastian Forbes Dance for Everyone Festival Juniper Arts Music James Rooke Christopher Bowers-Broadben t Peter Racine Fricke r Dance Theatre Commune Southend Boy's Choi r Antony Lindsay and Simon Youn g Prue Sheridan Rory Boyle John Gardner Alexander Roy London Balle t Three Choirs Festival Reading Phoenix Choir Theatre Louis Halsey Singers

111 Table A

Stanley Glasser David Lord Wilma Paterson Arthur Davison Concert s Educational Dance-Drama Theatre Cheltenham International Festiva l Barry Guy Elisabeth Lutyens of Musi c Sheba Sound In Performance Paul Patterson West Square Electronic Musi c Joan Dickson and Joyce Rathbone International Organ Festival Society Association Yorkshire Derwent Trust London Gabrieli Ensemble John Harper Bath Festival and York Festival London Sinfonietta Children's Concert Centre Roger Marsh Anthony Payne Christopher Hazel l Barry Guy International Organ Festival Society International Organ Festival St. Albans College of Further Annette Peacock Society Education jazz Centre Society Anthony Hedges William Mathias Kenneth Platt s Martyn Hil l Bach Choir Woodfalls Band Borough of Milton Keyne s Colin Matthews Priaulx Rainier Tony Hewitt-Jone s Apollo Chamber Orchestra Yehudi Menuhi n Bristol Bach Choir Geoffrey Sab a Paul Read e Alun Hoddinott David Matthews St. Angela's RC School for Girls Cheltenham Festiva l Dreamtige r Stephen Reeve Robin Hollowa y Sheba Sound Dreamtige r London Sinfonietta John Mayer Anne Ridler Speculum Musicae Children's Concert Centre Oxford University Opera Club John Hopkin s Nicholas McNair Alan Ridout Cambridge Contemporary Dance Dreamtige r Durlston Court School Group Lavinia Snelling New Wessex String Quarte t Joseph Horovitz Anthony Milner Howard Riley Cookham Festival Society Dreamtiger Hurlfield Campus, Sheffield National Brass Band Paul Mitchell-Davidson Francis Routh Championships of Great Britai n Children Concert Centr e London Oboe Quartet Herbert Howell s Steven Montague Redcliffe Concerts of British Musi c Bach Choir West Square Electronic Music David Rowlan d International Organ Festiva l Association Eva Graubin and Roberto Brav o Society David Morgan Edwin Roxburgh Robert Sherlaw Johnson British Youth Wind Orchestr a Three Choirs Festival Collegium Musicum Dominic Muldowney Worfield Charity Concert Trust Kenneth V . Jones Brighton Festival Peter Sande r Carol Cooper (2 ) Alfred Nieman John Carpenter Brass Quinte t Wilfred Josephs New London Consort Robert Saxton British Youth Wind Orchestra Stephen Oliver Worfield Charity Concert Trust Oliver Knussen Nicholas and Stephen Cleobury Gerard Schurman n Christopher Rowland an d Buxton Orr Western Orchestral Societ y Giles Swayne Henley Symphony Orchestra Francis Shaw John Lambert Redbridge • Brass Ensemble Sharon McKinley Ensemble for New Music Richard Orton Edward Shipley Thames Concert Societ y Cheltenham International Festiva l John Blow Gordon Langford of Music Gemini Ensemble Sheba Sound James Fulkerson and Steven Naresh Sohal Peter Lawson Montague Florian Kitt Landini Consort Nigel Osborne Tim Souster Nicola Lefanu Rose Andresier Merseyside Arts Association New Opera Company Andrzej Panufnik Roger Steptoe Kenneth Leighton Northern Sinfonia Juniper Arts Music West Riding Cathedrals Festival Richard Stoker P & V Promotions 112 Table A

Phyllis Tate Tony Haynes Art Mid-Northumberland Arts Group Julie Hornsby Royal Free Hospital Music Society Ken Hyder Bursaries John Tavener Jacky Lansley Richard Alle n Cantores in Ecclesia Royston Maldoom Sheila Fell London Sinfonietta Tamara McLorg John Hoskin Stan Tracey Tony Oxley Harry.Thubron Bracknell Jazz Festival Marika Rennerfelt John Wragg Salisbury Festival Gregory Rose Antonin Tucapsky John Russell Discretionary awards University of Warwick Chamber Lesley-Anne Sammons Richard Adey Choir Ilona Sekacz Anthea Alle y James Walker Mary Sheridan Paul Astbury Stratford-upon-Avon Choral Richard Slaughter Linda Ayres Society David Sutton Geoffrey Beasle y Trevor Watts Giles Swayne Sue Beer e Music Now Miranda Tufnell Michael Bennett Graham Whettam Wendy Vincent-Smith David Bent Royal Liverpool Philharmonic Sarah Wayman Peter Bettany Society Judith Weir Tony Bevan Peter Wiegold Virginia Westlake Douglas Binde r Kathryn Lukas Ken Wheeler Michael Bolus Sacred Music Festival Conference Janet Wilks Alan Bon d Spode House Trevor Wishart Philip Boot h Malcolm Williamson Colin Wood (2) Janet Boulton London Philharmonic Orchestra Frank Bowling Colin Wood Designers Fionnula Boyd Rosemary Butcher Richard Caswell Ronald Boyd Dance Company Dance Prism Angelo Bozzolla Hugh Wood Susie Caulcutt John Brennan Redcliffe Concerts of British Music Educational Dance Drama Christopher Castle James Wood Theatre Roger Catchpole Electric Candle Norberto Chiesa Bob Chaplin Douglas Young York Festival Michael Chilton Leicestershire Education Ian Murray Clark Ann Christopher Department Dance Prism John Clark Glyn Collins Peter Coker Bursaries Ronald Lloyd and Anitra Shore Ithell Colquhoun Allegri Quartet Paul Dart Robin Coombes Avril Anderson Another Dance Group Berenice Cowan Gideon Avrahami Paul Davidson Tony Cragg Steve Beresford Ronald Lloyd and Anitra Shore Michaele Cuddihy David Bintley Hugh Durrant Bill Culber t Peter Carter Ballet Rambert Peter Dalkeith Hilary Cartwright Jorge Salavisa Richard Dalkins Julian Clark New London Ballet Andrew Darke Hugh Davies Vera Vasarhelyi Abigail Davie s Kristin Donovan Extemporary Dance Group Christopher Dawson Tom Eastwood Jeffrey Dellow Fred Frith Norman Dilworth Martha Grogan Steven Dilworth Barry Guy Ken Draper Jonathon Harvey David Dye 113 Table - 1

Paul Eathorne Liliane Lijn Jenny Smith John Epstein Diane Livey Keir Smit h Bob Evans Ian Lord Harry Snook David Evans Jeffrey Lowe Seamus Staunton Garth Evans Michael Lyons Nicholas Stephens Leslie Evans Peter Lyons John Stezaker Raymond Exworth John Maine Hylton Stockwell Brian Falconbridge Michael Major Peter Stowel l Peter Fink Elisabeth Mallison Susan Tebby Rose Finn -Kelcey Leonard Marchant Keith Thomas Shirley Fletcher Alan Marshall George Thompson Dick French Michael Mayer Alan Tinley Ian Friend Sarah McCarthy Philip Vaughan Steven Furlonger Alan McGrath John Virtue Bruce Gernand Ian McKeever Paul Waplingto n Katherine Gili John McLean Margaret Warwick Jonathan Goddard Philip Mead Karl Weschk e Mel Gordon Robert Medley Brian Westbury Ken Gray Margaret Mellis Andrew Whamon d Francis Green Alan Miller Rhonda Whitehead James Griffin Jan Mladejovsky Alfred Whiteley George Hainsworth Lorraine Molins John Whittaker Gertrude Halsband Joanna Morland Alan Wilson Andrew Harrison Sally Musgrove Graeme Willson Liz Harrison Tony Musker Alistair Wilso n Margaret Harrison Roy Naylor Richard Wilson John Hart Paul Neagu Philip Winder Peter Harvey Arthur Neal David Wiseman Steven Hebbard Michael Newth Marie Yates Mary Heptinstall Brian Nicol Li Yuan-Chia Charles Hewlings Alfred O'Brien Peter Hide Hugh O'Donnel l Gillian Hinds Ken Oliver Photography Alan Holt Brian Padden Gerry Hunt Slobodan Dan Paich Bursarie s Charles Huxstep Emma Park Thomas Coope r Kathleen Hyndman Roland Piche Joseph Koudelk a Henry Inlander Nicholas Pope Richard James Elizabeth Powell Discretionary awards Robert Janz Malcolm Poynter Lewis Amble r Chris Jennings Simon Read John Blakemor e Taploe Johnson John Reay Amanda Currey Roger Jones Keith Reeves John Davies Trevor Jones Richard Robinson Colin Jones Peter Joseph Martin Rodgers Robert Judge s Tina Keane Edward Roocroft Keith Kennedy Michael Kenny Colin Rose Markets Luskacovs Richard Kidd David Ross Laurence Migdale Robin Klassnik Johnny Ross Martin Parr Dennis Knowland Stephen Rush Leo Stable Truda Lane Christine Seddon Patrick Ward Bob Law Colin Simmond s John Lessore Anthony Smart 114 Table A

Films Jenny Lowe Barry Unsworth Annabel Nicholson John Warrack Tony Rickaby Video Bursary Telfer Stokes Brian Hoey Training

Discretionary Awards Literature Actors Anna Ambrose Jacqueline Andrew s Alan Andrews Michael Baldwin Christopher Barne s Ian Breakwell Sebastian Barker John Baro n David Clapham Alexander Baron Lynsey Baxter Renny Croft Chaim Bermant Clifford Burnett Peter Donebauer Dinah Brooke Martin Duncan Andrew Dunlop Philip Callow Jenni Evans Michael Dye Lettice Cooper Vanessa Forsyth Stephen Fatter Kevin Crossley Holland Gordon Gardner Karl Francis Adam Czerniawski Crispin Gillbar d Peter Gidal Kay Dick Cecilia Hockin g Keith Grieg Patric Dickinson Anna Karen Robert Guyver Harold Elvin Stephen Kemble Nicholas Hamlyn Alexander Faris Jane Lowe Ron Haselden Elaine Feinstein Christopher Martin Ronald Henocq Brian Finney Dona Martyn Roger Hewins Peter Gunn Charmain May John Hopkins John Hancock Robert McBain Chris James Peter Hayworth Marina McConnell Darcy Lange Timothy Hilton Kieran Montague Dirk Larsen David Holbrook Angela Rooks Malcolm le Grice Thea Holme Paul Schoolma n Georges Levantis Joseph Hone Geronimo Sehmi Paul Martin Michael Horovitz Buster Skeggs Glen McIver Jenny Joseph Derek Smit h Ken McMullen Gabriel Josipovici Trevor Smith Philip Mulloy Michael Kettle Toni Stuar t Stephen Partridge Jeremy Kingston Christopher Tranchell Elke Perton-Grabbert Jennifer Lash Sara Van Beers Sally Potter Brian Masters Roger Watkins Anne Rees-Mogg Ian McEwan Michael Worsle y Jane Rigby Elizabeth North Guy Sherwin David Plante Administrators David Shetcliffe Catherine Porter - Diploma Course Tony Sinden Sally Purcell Judith Ackrill Elsa Stansfield Winifred Radford Richard Coverle y Gary Stevens Tom Raworth John Crow Stephen Weatherill Peter Reading Anne Hunt David Wheatley Jean Rhys Simon Kusseff Roger Wilson Paul Rotha Alison Scot t Derek Savage Juliann Szekely Publishing and Research Awards Martin Seymour-Smith Julianne Toola n Philip Booth Tom Sharpe Fenella Crighton Colin Spencer Practical Cours e Jeet Dhanjal Derek Stamford Clare Agius Richard Ellin . Charles Tomlinson Richard Johnston 115 Table - 4

Ian McKeand Technicians and Christopher Long Susan Middleton Lighting Designers Scottish Theatre Ballet Limited * Vivienne Moore Jonathan Ball John J4cLeod Angela Motisi Nicholas Firth Joan Busby* Michael Moulds Jan Sendor John B Reid John Rose Del Trew Scottish Theatre Ballet Limited * Jenny Topper Graham Robb Platform Glasgow* In-service bursaries Peter Searl e Margot Coatts Scottish Theatre Ballet Limited * Rosalind Dodds Scotland Frank Spedding David Elliott Glasgow Cathedral* Bill Johnston Music Norbet Vesak Henry Lydiate Scottish Theatre Ballet Limited* Sandy Nairne Special Grants John Weeks Penelope Owens Reginald Barret-Ayres Kilmardinny Music Circle * James Douglas Thomas Wilso n Designers Lionel Gliori John Currie Singers Limited* Angela Brock Janetta Gould Thomas Wilso n Denise Bullock Edward Harper Josephine Nendick * Alex Bunn Kenneth Leighton William Wordsworth Bob Crowley George MacIlwham Ronald Stevenson * Alan Davis Edward McGuire Sally Gardner John Watson Bursaries Lynda Harris John Weeks Enid Bannatyne Pamela Howard Thomas Wilson Derek J Clark Doreen James William Wordsworth Lyell Cresswel l Andrew McAlpine Gavin Dorrian Norman McDowell Commissions Lydia J Flett Mary Moore Roy Campbell-Moore Lambert Houniet Margaret Preece Scottish Theatre Ballet Limited* Frances McCaffert y Lee Preedy Peter Cazalet David Milne Irene Whilton Scottish Theatre Ballet Limited* Louise Paterson Steven Whitson Peter Racine Fricker Colin Pric e Colin Kingsley* Elizabeth Robinson Directors John Maxwell-Geddes Peter Sander s Sarah Anderson Bryden Thomson* Christine Shepherd Antonia Bird Alexander Goehr Paul Tyers Janos Bruck Scottish Philharmonic Society Margaret Wakeford Martin Canter Limited* Margaret Lucy Wilkin s Penelope Cherns David Hayman Roger Coward Scottish Theatre Ballet Limited * Rodney Natkiel Edward Harper Drama Graeme Phillips Scottish Philharmonic Society Christopher Renshaw Limited* Trainee Directors Chattie Salaman Sheila Humphries Andrew Kyles John Southworth Scottish Theatre Ballet Limited* Perth Repertory Theatre Limited * Jeffrey Teare David Johnson Peter Lichtenfels David Thacker Bryce Gould* Traverse Theatre Club * Hugh Thomas Kenneth Leighto n Heriot-Watt University Music Theatre Administratio n Society* Sheila Benjamin Mary Picke n 116 Table A

Bursaries Frances Pelly Wales Reg and Annie Bolton Forestry Commission * Stanley Eveling Gavin Scobie Graham Gardiner Eden Court Theatre* Music John Hall John Harley Bursaries for advanced study Evelyn A. Langlands Literature Valerie J . Aldrich-Smith Brian Lawson Eirian Davie s Anne McNally Bursaries Hywel H . Davies Peter Scoles Jeremy Bruce-Watt Cheryl Edward s Alisdair Skinner Alastair Campsie Helen Field Joan Ure Peter Chaloner Linda D. Fuge John Herdman Timothy German John MacPhail Law Phillip Griffith s Art Alastair Mackie Ann James Patrick McVeigh R. H. Joyce Bursaries Christine Meek Kenneth Lewis Mark D . Anderson Walter Perrie Enid Luff Frederick Bushe Doreen O'Neill Frank Docherty Munro Award Karen Shelby Alexander Fraser James McGuire John Williams Pat Leighton Maria Williams Margery A . Loudon Book Design Award s Canongate Publishers Limited Kate Lynch Commissions John Mackie Edinburgh University Press Malcolm Arnol d Edinburgh University Students Patrick McEay Charlie Barbe r James McGlade Publications Board Emvr Edwards Donald McKenzie Dilys Elwyn-Edward s Travel Grant Liz Ogilvie Endaf Emlyri Louise Pim Barrie Ellis-Jones David Harries Paul S. Ritchie Alun Hoddinott Derek Roberts Book and New Writing Awards _ Jeffrey Lewi s George F. Shanks George Mackay Brown William Mathias Norma Starszakowna Catherine Czerkawska John McCab e Philip T . Thain Elspeth Davie David Nevens William Wilson James Hunter Andrzej Panufnik Elizabeth Marshall Myfanwy Piper Edwin Morgan Trevor Roberts Commissions Robert Nye Robert Smith Frederick Bushe Agnes Stewart Phyllis Tate Eden Court Theatre* John Byrne Edinburgh District Council* Drama Bill Gillon Heriot-Watt Student Association* Bursaries and travel grants Jake Kempsell George Auchterlonie Eden Court Theatre* Glyn Bank s Andrew Mylius Ann Diamon d Livingston Development Helen Eaton Corporation* Emyr Edwards John Nelson Sian Eirian Eduardo Paolozzi Graham Galvin University of Glasgow* Christopher Green 11 7 T,ible . 1

Doreen Halewood Miriame Margaret Davi d T. Llew Jones Eirwen Hopkins David Dobson John Barrie Pook Dafydd Owen Hughe s John Uzzell Edwards Ruth Janette Ruck Mike Kelly John Dawson Evans John Griffith William s James Kirkup Janice Giffen Fiona C . Lincoln Tom Gillesp y Honours Geoff Moor e Ian Grainge r Iorwerth Peate Peter Mumford Christopher J. Griffin Gwyn William s Christine Nott Gwent College of Further Educatio n Catrin Parry Llanover Hall Prizes Mike Pearson Harry Holland Jane Edwards Jo Westo n Richard Humphrey Donald Evans Ben Jones Raymond Garlick Commission Aid Selwyn Jones Owain Owain Clwyd County Council Thomas Dempster Jones R. J. Rowlands Bruce Burton Claire Langdown Gwyn Thoma s Cwmni Theatr Cymru Gregory Lewis Gwyn A .William s Derec Llwyd Morgan Peter Lewis Gwenlyn Parry Richard Li n `In these cases payment is made to Eisteddfod Genedlactho l Peter Lord the organisation shown . J. G. Jones Keith Marti n Urien William s Tony Steele Morga n Llandovery Theatre Committe e Phillip Edward Nicol Simon Barnes Michael John Pun t Jacky Harrison William George Roger s Theatr Powys Gerda Rope r M. Dorrell John Selway Welsh Drama Company Dianne Setch Gwyn Thomas Catherine Shevlin CASCO Phil Wood s Marty St Jame s Theatr Yr Ymylon Steven Taylor Ewart Alexande r David Thorp Tiger Studio Art 56 Group Wales Clive Walle y Association of Artists and Designers Alan Warburton in Wales Frank Watkins John Aubrey Alex Williams Peter Bailey Idris Williams Mervyn Baldwin Paul Wright Paul Beaucham p Jan Boenisc h Literature Paul Brewer John Charity Bursaries and travel grants Rob Conybeare Tony Curti s Richard Cox Bryan M . Davie s Stephen Cox Per Denez Jack Crabtree Jane Edwards Polly Crabtree Donald Evans Andrew Craig W. R. P. George Alistair Crawford Jeremy Hooker Michael Crowthe r Harri Pritchard Jone s Cyngor Llyfrau Cymraeg Moses Glyn Jones 118

- Table B Housing the Arts 1976177

In 1976/77 the Arts Council's grant in aid of £37,150,000 included £ 1,150,000 fo r Housing the Arts . The details of the £1,150,000 can be found at the end of Schedule 3 , where £905,000 is accounted for in England, £ 128,500 in Scotland and £116,500 i n Wales .

The Arts Council was also empowered to enter into commitments during 1976/77 t o make provision for Housing the Arts up to a total of £2,460,000 above the cash grants o f £ 1,150,000 . However, during the year the Department of Education and Science informed the Council that, consequent upon the July 1976 measures announced by th e Chancellor of the Exchequer, the cash allocation in the foreseeable future would b e £500,000 per annum. The Council was therefore forced to review its commitments an d to reduce them accordingly. As a result of this, at 31 March 1977 only £ 1,261,300 ha d been thus committed out of the total of £2,460,000 authorised . The details are set ou t below :

£ Englan d Ipswich and Suffolk New Theatre Trus t 160,00 0 Leeds City Council - Art Gallery 100,00 0 Manchester Royal Exchange Theatre Trust 50,00 0 London: Festival Ballet Trust Limited 50,00 0 Snape Makings Foundation 50,00 0 Stoke City Council - Art Galler y 43,000 Hereford and Worcester County Council - Evesham Arts Centre 40,000 Isle of Wight County Council - Newport High School Hall 35,00 0 Wyre Forest District Council - Kidderminster Old School Arts Centr e 32,500 Liverpool : Merseyside Everyman Theatre Company Limited 25,000 Birmingham : Cannon Hill Trust Limite d 24,700 Salop County Council - Bridgnorth Joint Use Centr e 20,000 Stamford Arts Centre Committe e 20,000 Tyne and Wear County Council - Laing Galler y 17,00 0 Plymouth Arts Centre 15,00 0 Bath: Holburne of Menstrie Museum 10,00 0 Hastings : The Stables Trust Limited - Arts Centre 10,00 0 London : Moonshine Community Arts Workshop 10,00 0 Newlyn Orion Gallerie s 8,500 Plvmouth Theatre Trust - Workshops 8,000 Wakefield Metropolitan District Council - Old Grammar School Galler y 8,000 Northampton Repertory Players Limited 7,500 Hebden Bridge : Arvon Foundation - studio theatre 6,000 Boston : Blackfriars Theatre Limite d 5,000 Sunderland Arts Centr e 4,000 Blyth Arts Counci l 3,000 Carlisle : Green Room Club 2,000 Aldeburgh Jubilee Hall 600

Carried forward 764,800 119

Table B

£ £ Brought forward 764,800

Scotland Dundee Repertory Theatre Limited 200,000 Glasgow : Scottish National Orchestra - rehearsal hall 54,00 0 Edinburgh : Scottish Philharmonic Society - Concert Hall 35,000 University of St . Andrews - Arts Centre 25,000 Edinburgh Theatre Workshop 12,000 Cumbernauld Cottage Theatre 11,500 Strathaven Arts Centre 10,000 347,50 0

Wales Welsh National Eisteddfod - Pavilion 80,000 Builth Wells: Wyeside Centre 30,000 Milford Haven Theatre 18,000 St. Donat's Arts Centre 11,000 Denbigh Arts Centre 10,000 149,00 0

£ 1,261,30 0

120

Table C Theatre Writing Schemes

Bursarie s Michael Abbensetts James Keller Robin Smyth Yemi Ajibade Roy Kift David Snodin Tony Allen David Lan John Stevenson Paul Angelis Jill Laurimore Eric Sutton Colin Bennett A. A. Legal-Miller Jeremy James Taylo r Alfio Bernabei David Zane Mairowitz Peter Tege l F. Watson Bowen John Miles Joe Tibbett s Petronella Breinburg Adrian Mitchell E. A. Whitehead Andrew Carr John Morris Ken Whitmore Geoffrey Case David Mowat Michael Wilco x Glenn Chandler Richard O'Keeffe Christopher Wilkinson Sandra Clark Mary O'Malley Veronica Wilkinson Rosemary Davies Edwin A. Pearce T-Bone Wilso n Harry Duffin Richard Pinner Stephen Wyatt Leslie Glazer Jonathan Raban Derek Graham Jimi Rand John Whiting Award Wilson John Haire Ian Rodger David Edgar - for his play `Destin y' John Hope Mason Jack Ronder Donald Howarth David Rudkin

Contract Writers Award s Writer Birmingham Repertory Theatre Limited Chris Honer and Roger Lancaste r Canterbury Theatre Trust Limite d John Spurling Chester : Gateway Theatre Trust Limite d Rony Robinson Hull : Humberside Theatre Trust Limite d Phil Woods Lancaster : The Duke's Playhouse Limited Ken Hill, Philip Martin, David Pownall, Rony Robinso n Paines Plough Mick Yates Leeds : Interplay Trus t Malcolm Rea d Liverpool : Merseyside Everyman Theatre Compan y C. G. Bond, Chris Darwin, Claire Luckham, Bob Mason, Limited Willy Russell Liverpool Repertory Theatre Limited Catherine Hayes, Arthur Kelly London : Alternative Theatre Company Limite d Robert Holman, Alan Plater and Bill Tidy, T-Bone Wilso n Caryl Jenner Productions Limited Roy Kift Cecropia Company Peter Tegel The Combination Limited Andy Smith Common Stock Theatre Company Limited Alan Passes, Martin Stellma n Eastend Abbreviated Soapbox Theatr e Derek Smith English Stage Company Limite d Douglas Dunn, Leigh Jackson, David Lan Foco Novo Limited Jonathan Chadwick, John Hoyland, Adrian Mitchel l Gay Sweatsho p Roger Baker, Drew Griffiths Greenwich Theatre Limited Michael Maynard Hampstead Theatre Club Limited Jeffrey Bernard, Alan Bleasdale, Barrie Keeffe International Fringe Limite d Colin Bennett and Caryl Churchill, Tony Bicit Mermaid Theatre Trust Limite d John Well s The Monstrous Regimen t Caryl Churchill New Shakespeare Company Limite d John Burrows and John Hardin g Salt Theatre Micheline Wandor 7 :84 Theatre Company (England) Limite d David Edgar Southtown Theatre Limited Martin O'Leary Temba Theatre Company Richard Crane 12 1

Table C

Contract Writers Awards It rifer Manchester : Royal Exchange Theatre Company- Limited Alan Garner, Derek Griffiths, Ronald Harwood , Trevor Peacoc k Manchester Young People's Theatre Limite d James Bentley, Alan Bleasdale, Ray Herman, Ken Hil l Newcastle : Tyneside Theatre Trust Limited Richard Cooper, Warren Hoope r Nottingham Theatre Trust Limited Andrew- Dickson and George Moore, Peter Flannery, Graeme Garden, Trevor Griffiths, Marion Haywood , Stephen Lowe Oxford : Anvil Productions Limited Dennis Potter, Peter Ransley, C . P. Taylor Richmond Fringe Limite d James Saunders Sunderland : Wearabout Theatre Compan y Phil Wood s West Midlands Art s Joyce Cheesema n The Church Army Arthur Scholey

Royalty Supplements Play Organisation

Dannie Abse Pythagoras Birmingham Repertory Theatre Limited Dorothea Alexander and Eric Paice The Long Nose ) a triple bil l The Guild Company (translators ) Raising The Devil by The Stolen Cockerel Hans Sachs Tony Allen and John Miles Free Milk And Orange Juic e Rough Theatre John Antrobus They Sleep Together Leicester Theatre Trust Limited Alan Ayckbourn Ten Times Tabl e Scarborough Theatre Trust Limited Roger Baker and Drew Griffith s Indiscreet Gay Sweatshop Nigel Baldwin At The Top Of The Bil l Hornchurch Theatre Trust Limited Just A Little Bit Less Than Norma l English Stage Company Limited Howard Barker Wax Alternative Theatre Company Limite d Jeremy Barne s Exodus Horseshoe Theatre Company Limited Jeremy Barnes and Peter Cooper The Jolly Farmer Horseshoe Theatre Company Limited Stan Barsto w An Enemy Of The People Oldham Repertory Theatre Club * Mike Baynham, John Brooksmit h (translators) Juan Vera (author) Tw clyc Shifts Of Gea r Recreation Ground Theatre Compan y Colin Bennett Soon Alternative Theatre Company Limite d Alfio Bernabei Gast The Bite Theatre Grou p Alan Bleasdale Should Old Acquaintance Manchester Young People's Theatre Limited It's A ;Madhouse Manchester Young People's Theatre Limited John Boland and Philip King Elementary, My Dear Worthing and District Connaugh t Theatre Trust Limited Chris Bon d The Good Soldier Scouse Merseyside Everyman Theatre Company Limite d Tales Of Old Lancashire double bil Merseyside Everyman Theatr l e Tales Of Finn McCool Company Limite d Scum : Death, Destruction And Dirty Washing The Monstrous Regimen t Edward Bond Grandma Faust Inter-Action Trust Limite d The Swin g Inter-Action Trust Limited Stone Gay Sweatshop 122 Table C

Royalty Supplement s Play Organisation John Bowen Roger Richmond Fringe Limited Alfred Bradle y The Scatterbrained Scarecrow Of Oz Chesterfield Civic Theatre Limited David Brett, Mike Lucas, Mark Steeves , Ruth Tanse y Puddle it ! Mikron Theatre Company Limited Ian Brown The Fork Gay Sweatshop* John Burrows Son Of A Gun Sidewalk Theatre Company George Byatt Soldier Green Soho Theatre Company Limited Robert Calver t The Stars That Play With Laughin g Sam's Dice Pentameters Andrew Carr Hanratty In Hel l Camden Playhouse Productions Limited Glenn Chandle r Bikers' Knoll Soho Theatre Company Limited Caryl Churchill Light Shining In Buckinghamshire International Fringe Limite d Traps English Stage Company Limite d Vinegar To m The Monstrous Regiment Brian Clark Campion's Interview Soho Theatre Company Limited John Clar k Long Ball To Nowher e The Combination Limite d Sebastian Clarke Soul Of The Nation Caribbean Cultural Internationa l Bill Colvill The Job Gam e Half Moon Theatre Limite d Shane Connaughto n Canning Town Cowbo y Half Moon Theatre Limited Good Woman Of Wappin g Half Moon Theatre Limited* William Corlet t Orlando's Camping Holiday (adaptor) from the novel by Kathleen Hale Caryl Jenner Productions Limited Richard Crane Gunslinger Gulch Leicester Theatre Trust Limited Frank Dagnall One Man, One Bus Liverpool Repertory Theatre Limite d Janet Dale The Mystery Of The Lost City Scarborough Theatre Trust Limited Andrew Davies Randy Robinson's Unsuitabl e Relationship Gay Sweatshop Andrew Dickso n Dracula's Last Danc e Soho Theatre Company Limited Alan Drur y Sparrowfal l Hampstead Theatre Club Limited Communion Soho Theatre Company Limited Simon Dunmor e The I . K. Brunel Sho w Plymouth Theatre Trust Limite d Bob Eaton Robin Hood And The Magic Forest Scarborough Theatre Trust Limited Stephen Fagan and members of th e Phoenix Compan y Bernie's Barmy Garde n Leicester Theatre Trust Limited` Gilly Fraser Do A Dance For Daddy Soho Theatre Company Limited John Gartland A Good Lie Not A Great Li e Square One Theatre Club Limite d Pam Gems Guinevere Soho Theatre Company Limited The Projec t Soho Theatre Company Limited Michael Gill Consensu s Greenwich Theatre Limited and Soho Theatre Company Limited Christopher Godwi n The Guv'nor Scarborough Theatre Trust Limited Gordon Graham Innocent Bystanders Square One Theatre Club Limite d Steve Grant Marx And Sparks Major Road Theatre Compan y Steff Gresswell Professor Higginbottom's Secret Horseshoe Theatre Company Limite d Huntley Harding The Willing Ram Cheltenham Everyman Theatre Company Limite d Richard Harris The Maintenance Man Richmond Fringe Limite d Nigel Hawthorne Sitting Ducks Soho Theatre Company Limited Catherine Hayes Life's Simplest Tasks Liverpool Repertory Theatre Limite d Paul Hayes England's What? The Theatre Experience

123

T ible C

Royalty Supplements Play Organisation Brian Hayle s The Curse Of The Labyrinth Caryl Jenner Productions Limited " Katherina Helm. (translator ) Geisterbahn by Franz Xavier Kroet z Alternative Theatre Company Limite d Ken Hil l The Curse Of The Werewol f Manchester Young People's Theatr e Limited Robert Holman German Skerries Alternative Theatre Company Limite d John Horde r Cakes And Carrot s John Horder Roger Howard History Of The Tenth Struggle Scarab Theatre Limite d The Great Tide Colchester Mercury Theatre Limited Barry Ivory The Ragged Trousered Ma n Eastend Abbreviated Soapbox Theatr e Warren Jenkins Up The Beanstalk With Jac k Cannon Hill Trust Limited Paul Joyce and Peter Terson Love Us And Leave U s Camden Playhouse Productions Limited Barrie Keeffe Abide With Me Soho Theatre Company Limited Gotcha Soho Theatre Company Limited David Kelse v Now Here's A Funny Thing Northcott Devon Theatre and Arts Centre A. Kittermaster The Night Of The Talking Drum Jean Pritchard Management Limited * Helen Kluger and Elizabeth Romill y Honey, You're Talking Through You r Theatre At New End Limite d Hat Jenny Laird Mixed Econom y London Contemporary Productions One Enchanted Evening Octagon Theatre Trust Limited Joe Lan g What's Wha t Covent Garden Community Theatre Joe Lang and Richard Robinson The Wizard Of Odds Covent Garden Community Theatre A. A. Legal-Miller Father Forgive Them Black Theatre of Brixton Stephen Mallatrat t Mother Countr y Scarborough Theatre Trust Limited Bob Maso n Dick And The Beanstal k Merseyside Everyman Theatr e Company Limited Rose Marie Mason Sunbeams Soho Theatre Company Limited Mustapha Matur a Bread Drum Arts Centre Limited Maureen O'Bria n The Great Gobstopper Sho w Wakefield Tricycle Company Gareth Owen Double Exposure double bil l Adhoc Theatre Company In And Out The Windows Wrinkle Theatre Compan y Alan Passes No Sheep On The Bush Common Stock Theatre Company Limited Mystic Of The Western Worl d Soho Theatre Company Limited And Jean Pritchard Management Limited Michael Payne Screen Pla y Farnham Repertory Company Limited Stewart Permutt When I Grow Too Old To Scream Pentameter s I Shall Have To Surrende r Brian Phela n Article Five Gate Theatre Compan y Sally Pinde r All The Best People Scarborough Theatre Trust Limite d David Pinner Shakeba g Soho Theatre Company Limited Alan Plater and Bill Tidy The Fosdyke Sag a Alternative Theatre Company Limite d Howard Purdic Bonker s Greenwich Theatre Limited an d Soho Theatre Company Limited Richard Quick Juvenalia Alternative Theatre Company Limite d Meir Z. Ribalow Honey Square One Theatre Club Limited Sundance Square One Theatre Club Limited David Rome Light And Bitter 2nd City Theatre Company

124 Table C

Royalty Supplements Play Organisation Willy Russell Painted Veg And Parkinso n Manchester Young People's Theatre Limited James Saunder s The Islan d Richmond Fringe Limite d Mrs. Scour And The Future o f Western Civilisation Richmond Fringe Limite d Poor Old Simon Richmond Fringe Limite d James Scott Myself And Myself Agai n Drumbeat Productions Andy Smith Breakers Yar d Pirate Jenny Derek Smit h The Pigsty Eastend Abbreviated Soapbox Theatr e Ice Eastend Abbreviated Soapbox Theatr e PaulSonabend Significance Liverpool Repertory Theatre Limite d Play Within A Play Liverpool Repertory Theatre Limite d John Spurlin g While Rome Burns Canterbury Theatre Trust Limite d Eric Sutto n Happy Christmas Miss Figgis Soho Theatre Company Limited Anthony Swerling Henry's Telephone Call l double bil l Daniel Makove r The Engine Of Fraud r William Tanner Patty Hearst Inter-Action Trust Limite d Ian Taylor A Bit In Betwee n Soho Theatre Company Limited Joe Tibbetts and Paul Tod d Hellfire Tyneside Theatre Trust Limited'* John Turner Beauty And The Beas t The Combination Limited Karno's Army The Combination Limited George Walton Strongman Rules O .K. Eastend Abbreviated Soapbox Theatr e Fay Weldon Moving House Farnham Repertory Company Limited Second Chance Richmond Fringe Limite d Ken Whitmore Jump Caryl Jenner Productions Limited Nigel William s Double Talk Square One Theatre Club Limite d Alan Williamson The Music Of Disharmony Eastend Abbreviated Soapbox Theatr e Steve Wilmer The Jolly Green Soldier Black Theatre Of Brixton an d Drum Arts Centre Limited Phil Woods Put That Light Ou t Humberside Theatre Trust Limited Henry Woolf Under-Arm Bowling Theatre At New End Limited Manley Young Anansi And Whick Dittington Lambeth Entertainments

Writing Project s Project Bristol : Avon Touring Compan y The Avon Touring Roadsho w Hornchurch Theatre Trust Limite d The Great Discovery Sho w London : Drum Arts Centre Limited A Writers Worksho p Eastend Abbreviated Soapbox Theatr e A Writers Workshop English Stage Company Limite d A series of writers workshop s Greenwich Theatre Limited `Bonkers' and `Consensus ' Hampstead Theatre Club Limited An extended rehearsal period ofa play Les Oeufs 1,Ialades Grandmother's Footsteps Oxford : Anvil Productions Limited A series of writers workshops

Production grants PlaylAuthor London : Gay Sweatshop The Fork/Ian Brown Jean Pritchard Management Limited The Night of the Talking Drum/A . Kittermaster *In these cases payment is made to the organisation shown 125

Table D National Manuscript Collection of Contemporary Writers Fun d

The following manuscript material was acquired by the institution named wit h assistance from the Fund in the sear ended 31 Jlarch 1977 .

Donald Davie Collection of manuscripts and typescript s (Unisersity of Essex )

Garin Ewart Manuscripts and typescripts of 30 poem s (University of Hull )

Phoenix Magazine The archives of the magazine (University of Hull )

Edward Thomas Collection of 21 letters and 60 postcard s (Bodleian Library)

126 Table E Special Funds Beneficiaries during the year ended 31 March 1 977

H. A. Thew Fund Bernadette Carroll 50 David Forshaw 100 Colin Iveso n 100 Gerard McDonald 50 Amanda Quinn 150 D. J. Robinso n 150 Malcolm Siddall 150 Fiona Vella 250 Little Singers of St. Joseph the Worker 150 Mabel Fletcher Technical College 200 Oxton and Claughton Orchestral Society 50

Henry and Lily Davis Fund Timothy Crawford 700 Susan Howes 300 D. Jane Liste r 400 Wendy Nightingale 120 Michael Overbury 450 David Ponsford 450 Francis Reneau 800 Heather Slad e 70 Hilary Western 1,000 Jonathan Williams 300

Guilhermina Suggia Gift for the'Cello Anup Biswa s 250 Faye Clinton 225 Richard Leste r 275 Ruth Phillip s 100 Mark Sheridan 150 Andrew Shulman 175 Jeremy Thorne 150 Lucy Wilding 75

The Miriam Licette Scholarship Hilary Straw 1,000

Mrs Thornton Fun d Ian Hamilton Finlay 1,000 Peter Logan 475

127

Table F Arts Council exhibitions held in Great Britain during 1976"77

England Paintings, drawings, sculpture, et c L American Art : 1750-1800 Towards Independenc e Note LR Artists' Books L Exhibited in London L The Arts of Islam Ni Exhibited in Northern Ireland L Beyond Light: Bill Culbert and Liliane Lij n R Exhibited in the Regions R Burne-Jones s Exhibited in Scotland R The Burrell Collection : medieval tapestries, sculpture, stained glass, with paintings, Av Exhibited in Wales alabasters, ivories and metalwork and 19th centry French paintings i. Prunella Clough : recent painting s R\r' Constable : drawings and watercolours from the Fitzwilliam _luseum, Cambridg e i. Samuel Courtauld's collection of French 19th century paintings and drawings : a centenary exhibition (with the Courtauld Institute of Art ) Rs Cut Folded and Tied : drawings and prints by Richard Smit h RNA Daumier : Eyewitness of an Epoch (arranged by the Victoria and Albert Museum ) R Pictures from Eighteenth-century Venice lent by the National Galler y R English Cottages and Small Farmhouses (documentary exhibition ) LR Terry Frost : paintings, drawings, collages RNA George Fullard 1923-7 3 LRS Arshile Gorky : paintings and drawings LR Richard Hamilton/Dieter Roth : Collaborations LRs Howard Hodgkin : 45 paintings 1949-1975 R The Idea of the Village (documentary exhibition ) R `Just What Is It. . . ?' : Pop Art in England 1947-6 3 L Michael Kenny : sculpture and drawing s R Sculptures by Phillip King L Peter Loga n L Agnes Martin: paintings and drawings 1957-197 5 L Jeremy Moon : paintings and drawings 1962-1973 R Paul Nash (a selection from the retrospective exhibition organised by the Tate Gallery) R The Photography of Paul Nash R Patterns of Islam (documentary architectural exhibition ) Rsw Eduardo Paolozzi : sculpture, drawings, collages, graphics LRw' Peasant Paintings from Hu County, Shensi Province, Chin a LR Peruvian Ground Drawings (documentary exhibition) R The Rooks of Trelawne (organised by Andrew Lanyon ) Rs Felicien Rops t. Sacred Circles : two thousand years of North American Indian art L Serpentine Summer Show I : Allington, Booth, English, Katzourakis, Levine, Turnell, Ling, Loftus, Westley, White (selected by Eduardo Paolozzi ) L Serpentine Summer Show I1 : Evison, Guirey, Hide, Instone (selected by John Golding) L Serpentine Summer Show III : Ashley, Beauchamp, Kidd, Nash, Pope (selected b y Derek Boshier, Patrick Caulfield and William Feaver) L Serpentine Summer Show IV : Brookes, Brown, Gray, Griffin, Lewis, Mak Ki m 128 Table F

Siew, Masters, Myles, Poynter, Sharvell, Slocock, Sutton, Sweet, Whamond , Whitehead (selected by Derek Boshier, Patrick Caulfield and William Feaver )

L Serpentine Summer Show V : Elton, Nicholas, Safran, Toren, Theatre of Mistake s (selected by Michael Craig-Martin ) L Six Times : performances and installation s Rs Stanley Spencer 1891-195 9 L Ian Stephenson : paintings 1955-7 7 R De Stijl (documentary exhibition) L Harry Thubron L John Tunnard ARA 1900-197 1 LR Ni The Graphic Work of Felix Vallotton 1865-192 5 LR J. M. Whistler (organised by Agnew's) L Bryan Wynter 1915-1975

Original prints R American Prints 1913-6 3 RNN' Patrick Caulfield Prints R Sonia Delaunay : illustrations to Arthur Rimbaud's Illuminations Rs Order and Experience: an exhibition of American Minimalist Prints Rs Pages and Fuses and other Prints by Robert Rauschenberg Rw Edward Ruscha : prints and publications

The Arts Council Collection L Arts Council Collection 75-76 Exhibition R Drawings of People (selected by Patrick George ) LR The Human Clay (selected by R . B. Kitaj ) Rsw Sculpture for the Collection (selected by Bryan Kneale ARA)

Original prints in the Arts Council Collectio n Rw Developments R Image, Reality, Superreality (selected by Edward Lucie-Smith )

Exhibitions of photography R Bill Brandt R Coalface (Welsh Arts Council exhibition ) R Walker Evan s R Bert Hardy, photojournalist for Picture Post R Thurston Hopkins, photojournalist Rs Other Eyes R Tony Ray-Jones 1941-72 : The English Seen 129

Table F

Nl R George Rodger, photojournalis t z Paul Strand (in association with the National Portrait Gallery ) R Frank Meadow Sutcliffe 1853-194 1 L Edward Weston

Seventy-one exhibitions were held in 153 separate galleries in 108 different place s (287 showings, including 34 held in London at the Arts Council's Hayward Gallery and Serpentine Gallery ; and other galleries and museums, including the Courtaul d Institute of Art, ICA, Royal Academy, and Victoria and Albert Museum) .

Scotland ED The Camera and the Craftsman (Crafts Advisory Committee ) T Patrick Caulfield Prints Note ED Cleveland International Drawing Biennale (Cleveland Council ) ED Exhibited in Edinburgh ED Cocker/Harper/Pretsell (the artists ) E Exhibited in England T Harold Cohen: paintings 1965-7 5 T Tour in Scotland ED Confrontation/Creation/Celebration (Edinburgh Theatre Workshop ) w Exhibited in Wales T Miguel Conde : paintings and drawings TEw _ Jan Dibbets (Scottish and Welsh Arts Councils with assistance of Arnolfini Gallery , Bristol) E Michael Docherty, John Kirkwood, Eileen Lawrence, Derek Robert s ED Edinburgh Arts (Europe) 1976 (Richard Demarco Gallery ) T English Naive Paintings TE Fashion 1900-39 (with support of the Victoria and Albert Museum ) ED Dan Flavin : installations in fluorescent light T Gallery Choice : Annely Juda Fine Art T Horses from the Seton Murray Thomson Collection (with assistance from Glasgo w Museum and Art Galleries ) T John Houston Paintings ED Inscape ED E Jewellery in Europe (Scottish Arts Council and Crafts Advisory Committee) ED John Latham : Whatareyoulookingat T New Print s ED New Work from Britain and the USA (Robert Self ) T Glen Onwin T Open Cinema event ED Pages and Fuses and other prints by Robert Rauschenberg (Arts Council of Grea t Britain) ED Eduardo Paolozzi (Arts Council of Great Britain ) ED New Works by Eduardo Paolozz i ED Peintures sans Chassis (Centre National d'Art et de Culture Georges Pompidou) T Pictures for Public Places ED Recent American Still Photography (Scottish Photography Group ) ED Recent Acquisition s 130

Table F

ED Reflection and Reality : new works by seven Dutch Painters ED 80 works from the Roland Collectio n ED Felicien Rops (Arts Council of Great Britain ) T Eric Schilsky: sculptures and drawings T Scots Abroa d T Scottish Contemporary Photography T Second International Exhibition of Miniature Textiles T Small Tapestries T Still Life T Views of Harris by John Houston

Forty exhibitions were held in 36 buildings in 31 centres ; 88 showings in all .

African Shelter (Arts Council of Great Britain) Wales o Betty Blandino and Alastair Crawfor d Coalface (photography) Note o Barrie Cook E Also shown in England o Jack Crabtre e o Oriel exhibition only (Welsh o Richard Co x Arts Council 's Bookshop/ Olivier Debre Gallery, Cardiff) E Jan Dibbets (Scottish and Welsh Arts Councils with assistance of Arnolfini Gallery , OT Oriel exhibition and tour Bristol) o Bob Evan s OT The Fall E The Gregynog Press (joint Literature and Art Committees exhibition ) o Esther Grainger and Glyn Morga n o Carole Hodgso n E The Idea of the Village (Arts Council of Great Britain with Welsh Arts Council an d Eastern Arts Association) o David Jone s o Phillip King E Masks o James Morgan and Brian Gardner o Bob Mitchell and Philip A'Reilly Origins Och! Na Pharhaent . . ./Here Today . . . ? (photography) o Tom Phillip s o Keith Richardson-Jone s Slate (photography ) o Keir Smith and Kevin Harriso n Watercolours from Welsh collections Eighteen touring exhibitions, including five from England and one from Scotland , were shown in Wales at 16 centres, in 22 different buildings, giving 46 showings in all. In addition, 15 exhibitions were shown at Oriel, and Welsh Arts Council exhibition s had six showings in England . 131

Table G Contemporary Music Network and Small Scale Touring Schemes

Contemporary Music Network

The Contemporary Music Network exists to increase the number of performance s of important contemporary works throughout Britain .

The Arts Council of Great Britain, with advice from the British Section of the International Society for Contemporary Music co-ordinates and subsidises tour s by distinguished British and foreign ensembles, providing valuable opportunities for the repetition of well -rehearsed programmes .

Programmes include not only `classics' of the twentieth century, but also jazz , improvised and electronic music.

Contemporary Music Network 1976/77 tour s

BBC Singers with Carlisle, Coventry, Derby, Liverpoo l Philip Jones Brass Ensemble :

Bob Downes Open Music : Andover, Birmingham, Hull, Leicester, Sheffield, Southport, Sunderlan d

Chilingirian Quartet with Aberystwyth, Birmingham, Blackburn, Bristol, Grimsby, Huddersfield, Hull , Jane Manning : Leeds, Liverpool, Nottingham, York

'El Cimarron ' - Bristol, Huddersfield, King's Lynn, Liverpool, Middlesbrough, York Sebastian Bell, Timothy Walker, Garry Kettel, Michael Rippon :

Graham Collier Music : Bradford, Burnley, Horsham, Hull, Leeds, Leicester, Lincoln, Manchester , Newcastle, Sheffield, Southport, Torrington

Howard Riley Unit : Barnstaple, Birmingham, Bristol, Cardiff, Sheffiel d

John Taylor Octet : Bangor, Bridgwater, Instow, Leicester, Manchester, Nottingham, Sheffield , Southport, Sunderland

John Warren Band : Bristol, Canterbury, Leicester, Manchester, Southampton

London Sinfonietta : Birmingham, Brighton, Bristol, Farnham, Horsham, Huddersfield, Lancaster , Leeds, Liverpool, Norwich, Southampto n

Nash Ensemble : Brighton, Carlisle, Dartington, Godalming, Horsham, Keele, Lancaster , Shrewsbury, Southampton

Sarah Walker and Dennis Smalley : Bingley, Huddersfield, Leeds, Lincoln, Middlesbrough, Norwich

Steve Reich Ensemble : Birmingham, Huddersfield, Keele, Yor k

Tuckwell Wind Quintet Bangor, Carlisle, Leeds, Luton, Malvern, Manchester, Milton Keynes, Utoxette r with Imogen Cooper :

132 Table G

Small Scale Touring Schemes

The schemes exist for the purpose of encouraging companies to play in unconventional venues throughout the country and encouraging venues to develo p a full and varied programme of work by visiting companies . They all operate in conjunction with the Regional Arts Associations .

The schemes involved are the Regional Touring Circuit (drama) and th e Regional Dance Circuit, for groups working for a week of one-night stands in a specific region and the Regional Touring Grid scheme which involves a network o f venues around the country where subsidy is made available for seasons of work b y touring companies.

Groups participating in small scale touring schemes during 1976/7 7

Abrakadabra IOU Phantom Captain Annie Stainer Janet Smith Pip Simmons Belt and Brace s John Dowie Pirate Jenny Birmingham Performance Grou p Joint Stock RAPP British Theatre of the Dea f Lancaster, Duke's Playhouse Recreation Ground Broadside Mobile Workers' Theatre Leatherhead Theatre Company Red Ladder Canterbury Marlowe Mobile Compan y Lumiere and Son Rough Theatre Combination Magic Lantern Royal Court YPTS Common Stock Major Road Salakta Balloon Band Cycles Dance Compan y Merseyside Everyman Compan y Sal's Meat Marke t Dockwalloper Mikro n 7 :84 Theatre Company (England) EMMA Dance Company Mirror Theatre Shared Experience Entertainment Machin e Monstrous Regiment Sidewalk Extemporary Dance Compan y Network Tara Rajkumar Fergus Earl y New Orange Street Theatre Company Temba Theatre Company Foco Novo Nola Rae Theatre Mobile Free Form Northern Black Ligh t Theatre of Puppet s Gay Sweatshop North West Spanne r Triple Action Highway Shoes Orchard Theatre Compan y Wakefield Tricycl e Hull Truck Paines Ploug h Welfare State Inter Action People Show Women's Theatre Group

133