Stuart Golland Papers (MS 459) - Book Collection

Total Page:16

File Type:pdf, Size:1020Kb

Stuart Golland Papers (MS 459) - Book Collection Stuart Golland Papers (MS 459) - Book Collection Title Author/Publisher/Year Shelf Number Medea and other plays / Euripides ; translated and with an Euripides. (Harmondsworth : Penguin 1963.) Stuart Golland Collection/1 introduction by Philip Vellacott. The stirrings in Sheffield on Saturday night / Alan Cullen ; Cullen, Alan. (London : Eyre Methuen 1974.) Stuart Golland Collection/2 introductions by Alan Cullen and Colin George ; foreword by John Hodgson. The Shrewsbury three : strikes, pickets and 'conspiracy' / by Jim Arnison, Jim. (London : Lawrence and Wishart Stuart Golland Collection/3 Arnison ; foreword by Bert Ramelson. 1974.) Being an actor / Simon Callow. Callow, Simon, (Harmondsworth : Penguin Stuart Golland Collection/4 1995.) The Caucasian chalk circle / Bertolt Brecht ; translated by James and Brecht, Bertolt, (London : Methuen 1963, Stuart Golland Collection/5 Tania Stern, with W.H. Auden. c1960.) Saint Joan of the stockyards / Bertolt Brecht ; translated by Frank Brecht, Bertolt, (London : Eyre Methuen 1976.) Stuart Golland Collection/6 Jones. An actor prepares / Constantin Stanislavsky ; translated by Elizabeth Stanislavsky, Konstantin, (London : Geoffrey Stuart Golland Collection/7 Reynolds Hapgood. Bles 1937.) The miners' strike in South Yorkshire, 1926 / by J.A. Peck ; map by Peck, John Antony. (Sheffield : University of Stuart Golland Collection/8 H. Walkland ; illustrations by G.N.J. Wheeler. Sheffield Institute of Education 1970.) Touched / Stephen Lowe. Lowe, Stephen, (Todmorden : Woodhouse Stuart Golland Collection/9 Books 1979, c1977.) Le Tartuffe : comédie / Molière ; avec une notice biographique, une Molière, (Paris : Larousse 1971.) Stuart Golland Collection/10 notice historique er littéraire, un lexique, des notes explicatives, une documentation thématique, des jugements, un questionnaire et des sujets de devoirs par J.P. Caput. Molière's Tartuffe, or, The imposter / translated by Christopher Molière, (London : Faber and Faber 1984.) Stuart Golland Collection/11 Hampton. Candide : or optimism / translated by John Butt. Voltaire, (Harmondsworth : Penguin 1947.) Stuart Golland Collection/12 The Wesker trilogy : Chicken soup with barley; Roots; I'm talking Wesker, Arnold, (Harmondsworth : Penguin Stuart Golland Collection/13 about Jerusalem / Arnold Wesker. 1964.) Box; and, Quotations from Chairman Mao Tse-tung ; two inter-related Albee, Edward, (New York, N.Y. : Pocket Stuart Golland Collection/14 plays / Edward Albee. Books 1970.) Time and the Priestleys : the story of a friendship / Diana Collins ; Collins, Diana. (Stroud : Alan Sutton 1994.) Stuart Golland Collection/15 foreword by Iris Murdoch. 1 Stuart Golland Papers (MS 459) - Book Collection The adventures of Don Quixote / Miguel Cervantes De Saavedra ; Cervantes Saavedra, Miguel de, (London : Stuart Golland Collection/16 translated by J.M. Cohen ; abridged by Olive Jones ; drawings by Methuen Children's Books c1980.) George Him. The lost theatres of Sheffield / by Bryen D. Hillerby. Hillerby, Bryen D. (Barnsley : Wharncliffe Stuart Golland Collection/17 1999.) All together now : an alternative view of theatre and the community / Gooch, Steve. (London : Methuen 1984.) Stuart Golland Collection/18 by Steve Gooch. Medea / by Liz Lochhead (after Euripides). Lochhead, Liz, (London : Nick Hern 2000.) Stuart Golland Collection/19 The West Yorkshire Playhouse presents Medea / by Euripides ; Euripides. ([Leeds?], [2003].) Stuart Golland Collection/20 translated by Alistair Elliot ; [director, Femi Elufowoju, jr.]. An inspector calls / J.B. Priestley ; with an introduction by E.R. Wood. Priestley, J. B. (London : Heinemann Stuart Golland Collection/21 Educational 1965.) A night out : a play / by Harold Pinter. Pinter, Harold, (London : Samuel French Stuart Golland Collection/22 c1961.) The caretaker : a play / by Harold Pinter. Pinter, Harold, (London : Methuen 1962, Stuart Golland Collection/23 c1960.) The entertainer : a play / by John Osborne. Osborne, John, (London : Faber and Faber Stuart Golland Collection/24 1961.) A midsummer night's dream / William Shakespeare ; edited by Shakespeare, William, (Harmondsworth : Stuart Golland Collection/25 Stanley Wells. Penguin 1967.) Macbeth / William Shakespeare ; edited by G.K. Hunter. Shakespeare, William, (Harmondsworth : Stuart Golland Collection/26 Penguin 1967.) Julius Caesar / William Shakespeare ; edited by Norman Sanders. Shakespeare, William, (Harmondsworth : Stuart Golland Collection/27 Penguin 1967.) Tales from Shakespeare / by Charles & Mary Lamb. Lamb, Charles, (London : Readers Library [19-- Stuart Golland Collection/28 ]) Shakespeare : the tragedy of Hamlet Prince of Denmark / edited by Shakespeare, William, (London : WB Clive Stuart Golland Collection/29 S.E. Goggin. University Tutorial Press [1910?]) Twelfth night : or what you will / edited by Sir Arthur Quiller-Couch & Shakespeare, William, (Cambridge : Stuart Golland Collection/30 John Dover Wilson. Cambridge University Press 1958.) Touring Heartbeat country / written by Ben Smith. Smith, Ben. (Leyburn: CP Printing and Stuart Golland Collection/31 Publishing [1993]) Touring Heartbeat country / written by Ben Smith. Smith, Ben. (Leyburn: CP Printing and Stuart Golland Collection/32 Publishing 1994.) 2 Stuart Golland Papers (MS 459) - Book Collection Classic Heartbeat country : Goathland, the home of Heartbeat / Gerrard, David. ([s.l.] : sn [2002]) Stuart Golland Collection/33 written & edited by David Gerrard. Classic Heartbeat country : Goathland, the home of Heartbeat / Gerrard, David. ([s.l.] : sn [2005]) Stuart Golland Collection/34 written & edited by David Gerrard. Carols : the joy of Christmas / Edward Heath ; [piano editing by Cecil Heath, Edward. (London : Sidgwick & Stuart Golland Collection/Q1 Bolton and Roy Slack.] Jackson/EMI Music 1977.) Whitby & the North York Moors : holiday guide 2012 / Welcome to Rhea, Nicholas, ([York] : Bow House [2011]) Stuart Golland Collection/Q2 Yorkshire. Heartbeat : the real life story / Hilary Bonner. Bonner, Hilary. (London : Boxtree 1994.) Stuart Golland Collection/Q3 The Heartbeat chronicles : the life and times of Aidensfield through Tibballs, Geoff. (London : Granada Media Stuart Golland Collection/Q4 the pages of The Ashfordly Gazette / Geoff Tibballs. 1999.) 3.
Recommended publications
  • The Influence of Kitchen Sink Drama in John Osborne's
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk.
    [Show full text]
  • University of Pardubice Faculty of Arts and Philosophy Angry Young Men
    University of Pardubice Faculty of Arts and Philosophy Angry Young Men in British Drama: Analysis and Comparison of The Entertainer and The Kitchen Bachelor Thesis 2020 Karolína Jeníčková Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Beru na vědomí, že v souladu s § 47b zákona č. 111/1998 Sb., o vysokých školách a o změně a doplnění dalších zákonů (zákon o vysokých školách), ve znění pozdějších předpisů, a směrnicí Univerzity Pardubice č. 7/2019, bude práce zveřejněna v Univerzitní knihovně a prostřednictvím Digitální knihovny Univerzity Pardubice. V Pardubicích dne 14. 4. 2020 Karolína Jeníčková ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor, Mgr. Petra Kalavská, Ph.D., for her kindness and valuable advice during writing of this thesis. I would also like to thank my family for their support throughout my studies. ANNOTATION This bachelor thesis focuses on The Entertainer (1957) by John Osborne and on The Kitchen (1959) by Arnold Wesker, the plays written by playwrights referred to as the Angry Young Men.
    [Show full text]
  • University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 09 | Autumn 2009
    University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 09 | Autumn 2009 Title ‘Whatever people say I am…’: Multiple voices on screen and page in Saturday Night and Sunday Morning. Author David Forrest Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 09 Issue Date Autumn 2009 Publication Date 12/12/2009 Editors Lena Wanggren & Ally Crockford FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. ‘Whatever people say I am…’: Multiple voices on screen and page in Saturday Night and Sunday Morning . David Forrest, University of Sheffield The British New Wave in cinema, which ran from 1958 to 1962, was built around the adaptation of a number of literary texts that derived their ‘newness’ by vocalising working-class protagonists, hitherto largely suppressed in popular visions of British society. As a knock-on-effect, British screen culture refreshed, suffering as it did from the same level of under-representation that blighted literature. In a wider context, the films’ freshness and vigour can also be seen to be identified in a new approach to film style and aesthetics which had more in common with the European art cinema than the staid traditions of British filmmaking.
    [Show full text]
  • Post War British Theatre
    Post War British Theatre by James Hansford English Association Bookmarks No. 11 English Association Bookmarks Number 11 Three Post-War British Plays by James Hansford BOOKS TO READ Samuel Beckett, Waiting for Godot (Faber, 1956) Edward Bond, Save (Methuen, 1965) Caryl Churchill, Top Girls (Methuen, 1982) NOTES Conventional studies of the period begin by noting two important productions of the mid- 1950s, Samuel Beckett’s Waiting for Godot and John Osborne’s Look Back in Anger. Osborne’s drama (see also The Entertainer and Inadmissible Evidence), notwithstanding its monodramatic tendency, is essentially naturalistic, suppressing stage artifice and articulating a social consciousness which Arnold Wesker (Roots, Chips with Everything), Brendan Behan (The Hostage, The Quare Fellow) and John Arden (Serjeant Musgrave’s Dance, Armstrong’s Last Goodnight) have done much to refine and expand. By contrast Beckett’s work is ritualistic and meta-theatrical, an exploration of ‘inner space’ (see also Endgame, Happy Days, Play and Not) owing more to continental expressionism than to conventional representation, in whatever way it is ‘staged’. Samuel Beckett: Waiting for Godot Written in French and originally entitled Attendant, Waiting for Godot features two deracinated but sharply differentiated figures on a ‘country road’ awaiting, for an unspecified purpose, the arrival of a Mr Godot. By the end of the first act he has failed to appear and at the end of the play’s second and concluding act, Vladimir and Estragon are informed, by proxy once again,
    [Show full text]
  • CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
    CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • Winter Series Art Films and Events January February Filmmarch Film
    Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander
    [Show full text]
  • Survey II: British Drama 1945- Censorship Until 1968 Absurd Drama
    Survey II: British Drama 1945- censorship until 1968 absurd drama Samuel Beckett (1906-89) Waiting for Godot (1955); Endgame (1957 Fr; 1958 E); Krapp’s Last Tape (1958); Happy Days (1961); Breath (1969); Not I (1973). Nobel Prize 1969. Harold Pinter (1930-) Comedy of Menace: The Room (1957); The Birthday Party (1958); The Caretaker (1960); The Homecoming (1965) Lyric Drama: Landscape (1968; Beth & Duff); Silence (1969 * Ellen; Rumsey; Bates); Night (1969; Man, Woman); Old Times (1971) Political Plays: Mountain Language (1988); The New World Order (1991) “ Angry Young Men” John Osborne (1929-) Look Back in Anger (1956); The Entertainer (1957); Luther (1961); Inadmissible Evidence (1964); West of Suez (1971) John Arden (1930-) The Waters of Babylon (1957); Live Like Pigs (1958); Serjeant Musgrave’s Dance (1959); The Workhouse Donkey (1963) Arnold Wesker (1932-) Chicken Soup with Barley (1958); Roots (1959); I’m Talking about Jerusalem (1960) [= Wesker Trilogy]; The Kitchen (1959); Chips with Everything (1962); The Merchant (1977: Shylock); Caritas (1981; historical play) Political Theatre Edward Bond (1934-) The Pope’s Wedding (1962); Saved (1965) [banned]; Lear (1971); The Sea (1973); The Fool (1975); Restoration (1981; historical play); Summer (1982); The Road to the Deep North Howard Brenton (1942-) Epsom Downs (1977); The Romans in Britain (1980); Desert of Lies (1984) Brendan Behan (1923-64) The Hostage (1958); The Quare Fellow (1959) 2 David Edgar (1948-) Saigon Rose (1976); Destiny (1976); Ecclesiastes (1977); Mary Barnes (1978);
    [Show full text]
  • Knowlesad032.Pdf
    Copyright by Adam Daniel Knowles 2003 The Dissertation Committee for Adam Daniel Knowles Certifies that this is the approved version of the following dissertation: MEMORIES OF ENGLAND: BRITISH IDENTITY AND THE RHETORIC OF DECLINE IN POSTWAR BRITISH DRAMA, 1956-1982 Committee: _____________________________________ Elizabeth Cullingford, Co-Supervisor _____________________________________ Elizabeth Richmond-Garza, Co-Supervisor _____________________________________ Mia Carter _____________________________________ Alan Friedman _____________________________________ Wm. Roger Louis MEMORIES OF ENGLAND: BRITISH IDENTITY AND THE RHETORIC OF DECLINE IN POSTWAR BRITISH DRAMA, 1956-1982 by Adam Daniel Knowles, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 MEMORIES OF ENGLAND: BRITISH IDENTITY AND THE RHETORIC OF DECLINE IN POSTWAR BRITISH DRAMA, 1956-1982 Publication No. ___________ Adam Daniel Knowles, Ph.D. The University of Texas at Austin, 2003 Supervisors: Elizabeth Cullingford and Elizabeth Richmond-Garza I take the near coincidence in 1956 of the premiere of John Osborne’s Look Back in Anger and the Suez crisis as a starting point for a study of the context, reception and politics of a selection plays by Osborne, John Arden and Margaretta D’Arcy, Howard Brenton, David Hare and Caryl Churchill. The end of my study is marked by Margaret Thatcher’s consolidation of power in the early eighties and the 1982 Falklands War. My analysis focuses on how these plays represent forms of British national identity that developed during the era of Britain’s imperial strength and how they show these formations changing after World War II.
    [Show full text]
  • Robert Clack School Drama and Theatre Recommended Reading
    Robert Clack School Drama and Theatre Recommended Reading Greek Drama Oedipus by Sophocles, adapted by Frank McGuiness Antigone by Sophocles, adapted by Polly Findlay The Suppliant Women by Aeschylus, adapted by David Greig Medieval Drama Everyman by Anon, adapted by Carol Ann Duffy Shakespeare and Renaissance Drama King Lear by William Shakespeare The Tempest by William Shakespeare As You Like It by William Shakespeare The Merchant of Venice by William Shakespeare Tis Pity She’s a Whore by John Ford The Duchess of Malfi by John Webster The White Devil by John Webster Doctor Faustus by Christopher Marlowe Restoration Drama/Comedies The Rover by Aphra Behn She Stoops to Conquer by Oliver Goldsmith The Beaux Stratagem by George Farquhar The Recruiting Officer by George Farquhar European Drama Tartuffe by Moliere Mary Stuart by Friedrich Schiller, adapted by Robert Icke The Government Inspector by Nikolai Gogol Modern Drama A Doll’s House by Henrik Ibsen Robert Clack School Drama and Theatre Recommended Reading Hedda Gabler by Henrik Ibsen The Wild Duck by Henrik Ibsen Three Sisters by Anton Chekov The Cherry Orchard by Anton Chekhov Miss Julie by August Strindberg Woyzeck by George Buchner Pygmalion by George Bernard Shaw Spring Awakening by Frank Wedekind Salome by Oscar Wilde The Importance of Being Earnest by Oscar Wilde A Flea in Her Ear by Georges Feydeau 20th Century British Drama Hobson’s Choice by Harold Brighouse Rutherford and Son by Githa Sowerby Husbands and Sons by DH Lawrence, adapted by Ben Power The Deep Blue Sea by Terence
    [Show full text]
  • Saturday Night & Sunday Morning
    Saturday Night & Sunday Morning Director: Karel Reisz. UK, 1960. 89 min. Albert Finney, Shirley Anne Field, Rachel Roberts, Hylda Baker Nottingham writer Alan Sillitoe’s adaptation of his own novel is widely considered to be the most convincing of the British ‘angry young men’ dramas of the late Fifties/early Sixties. Middle-class Czech émigré and former documentary-maker Karel Reisz, directing his debut feature film on location in Nottingham and at Twickenham Studios, created an authentic atmosphere for his era-defining story of a restless British working-class youth. Salford-born bookie’s son Albert Finney – who won a scholarship to RADA where he was in the same class as Alan Bates, Tom Courtenay, Frank Finlay and Peter O’Toole - electrified audiences and critics alike with his charismatic lead role, his first after an apprenticeship in classical theatre and a small screen part in The Entertainer. Finney became a major star overnight, going on to earn the first of five unsuccessful Oscar nominations for 1963’s Tom Jones, having turned down the lead role in Lawrence of Arabia. Finney worked intensely in two periods at the National Theatre but rejected Laurence Olivier’s offer to succeed him as its head; he later also refused a knighthood, calling the honours system a way of “perpetuating snobbery.” He used his influence and money to back rising stars in the British film industry: co-producing Lindsay Anderson’s If…. (also shown by WFC), funding Mike Leigh’s first feature film, and giving Stephen Frears his movie-directing debut on Gumshoe, in which he starred.
    [Show full text]
  • Strategies of Political Theatre Post-War British Playwrights
    Cambridge University Press 0521258553 - Strategies of Political Theatre: Post-War British Playwrights Michael Patterson Frontmatter More information Strategies of Political Theatre Post-War British Playwrights This volume provides a theoretical framework for some of the most important playwriting in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker,John Arden, Trevor Griffiths,Howard Barker,Howard Brenton,Edward Bond,David Hare,John McGrath and Caryl Churchill,the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement with left-wing political theatre of an individual playwright,including a detailed analysis of one of their major plays. Despite political change since the 1980s,political playwriting continues to be a significant element in contemporary playwriting,but in a very changed form. michael patterson is Professor of Theatre at De Montfort University,Leicester. He is a major British authority on German theatre,especially twentieth-century political theatre in Germany. He is author of German Theatre Today; The Revolution in German Theatre 1900–1933; Peter Stein; The First German Theatre; and German Theatre: A Bibliography,and is editor of Georg B uchner:¨ Collected Plays. He has published numerous articles on German Naturalist theatre,Reinhardt,Pirandello,Brecht,concentration
    [Show full text]