A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974

ARTS COUNCIL OF GREAT BR(fAMm

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Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu

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Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels

Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G. Laurence Harbottle John Hubbard Philip Hedley Malcolm Hughe s Albert Hunt John Hulton Peter James David Hurn Oscar Lewenstei n Paul Huxley Frank Marcus R. B. Kitaj Cedric Messina Bryan Kneale Gareth Morgan Tristram Powel l Peter Nichols Jeremy Rees Trevor Nun n Sir Norman Rei d Timothy O'Brien Robert Rowe, CBE Peter Oliver Sir Robert Sainsbury Owen Ree d Jack Smith Donald Sinden David Sylvester Miss Caroline Smit h John Thompson Timothy West William Tucker Martin Williams Mrs Marina Vaizey B. A. Young Professor John White Membership of the Council, Committees and Panels (coutii iwd )

Committees of the Drama Panel P. E. Tucker Fringe and Experimental Drama Committe e Dr D. P. Waley New Drama Committe e Young People's Theatre Committee Music Panel Sir William Glock, CBE (Chairman) The following co-opted members serve on one or more Peter Williams, OBE (Deputy Chairman) of these committees : Richard Rodney Bennett Harrison Birtwistl e Mrs Margaret Birkett Miss April Cantelo Roger Croucher Gordon Crosse Miss Constance Cummings, CB E David Drew John Ford John Drummond John Grill o Gerald English David Holman Eric Falk, Qc Miss Naseem Kha n James Gibb Roy Kift Mrs Nigel Goslin g John McGrat h Gavin Henderso n Roland Miller Peter Heyworth Benedict Nightingale Barrie Iliffe Bert Parnab y Peter Kati n David Pease Miss Thea King Frederic Prou d Keith Lester Peter Stark Hugh Maguire Miss Glen Walford John Manduell Miss Cora Williams Professor Wilfrid Mellers Professor Donald Mitchell Literature Panel Allen Percival Stuart Hampshire (Chairman) Stephen Plaisto w Dan Jacobson (Deputy Chairman ) Andrew Porter Paul Bailey Simon Preston Miss Patricia Bee r George Rizza Miss Margaret Drabbl e Alan Rump Colin Falck Derek Scott Miss Gillian Freema n Roger Smalley Marlyn Goff Simon Towneley, JP, D L Ronald Harwood Professor Frank Kermode Committees of the Music Panel : Alexis Lykiard Dance-Theatre Sub-Committee Tom Maschler General Sub-Committee Charles Monteit h Jazz Sub-Committe e Peter Porter Opera Sub-Committee Hilary Rubinstein Piano Sub-Committe e John Sando e Ian Scott-Kilvert The following co-opted members serve on one or more Mrs Elizabeth Thomas of these committees :

National Manuscript Collection of Contemporary Mrs Mary Baxter Writers Committee Malcolm Binns Dr Philip Larkin (Chairman ) Sandy Brown Nicholas Barker Miss Louise Browne Douglas Cleverdon Tristram Cary Dr K . W. Humphreys John Chesworth W. Hilton Kellihe r Joseph Cooper Mrs A. J. Stratford John Cox Ronald Crichton Derek Scot t John Crisp Miss Caroline Smit h Walter Drabble Peter Williams, OB E Roger Eames Miss Jane Edgeworth, MB E The following Committee Members serve on th e Charles Fox Touring Sub-Committee : Noel Goodwi n Patrick Gowers Sir John Witt (Chairman ) David Henshaw Professor Harold C. Baldry Mrs Annette Hyn d Michael Elliott Miss Moura Lympan y Dr A. H. Marshall, CBE George Malcolm, CBE Miss Caroline Smith Professor Denis Matthews Peter Williams, OB E John Muir Stanley Murdoch Art Film Committe e Miss Daphne Oram Lady Casson (Chairman) David Parkhous e Edgar Anstey, OBE Mrs Anya Sainsbury Michael Barrett Keith Swallow Alan Bownes s Philip Towell Michael Clarke Richard Williams David Curti s together with (in the case of the Piano Sub-Committee) Miss Caroline Fawkes representatives of the Scottish and Welsh Arts Council s Colin Ford and the Regional Arts Associations Michael Gill Stephen Hearst Committee for the British Section of the Internationa l Derek Hil l Society of Contemporary Music : Stuart Hood, MB E David Drew (Chairman) Norman Swallow Martin Dalb y Dr Lisa Tickner Peter Dickinson Anthony Wraigh t Mike Gibbs Colin Youn g Professor Alexander Goeh r Barry Guy The following co-opted members serve on the Artists ' Alan Hacker Films Sub-Committee : Dr Jonathan Harvey Barrie Iliffe Simon Field Stephen Plaisto w Tony Rayns Roger Smalley Kevin Stephen s Training Committee Keith Winter Professor Roy Shaw (Chairman) Hugh Wood Dr A. H. Marshall, CBE (Deputy Chairman) John Allen Regional Committe e Alan Bowness Professor Roy Shaw (Chairman) John Bury Sir John Witt (Deputy Chairman) Patrick Donnell, DSO Professor Harold C. Baldry Lionel Dun n Miss Nancy Balfour, OB E John English Lady Casson Martyn Goff Professor Philip Collins Miss Cindy Hargate Michael Elliott Francis Hawcroft Martyn Goff Philip Hedley Ronald Harwoo d Ian Hunter Dr A. H. Marshall, CB E Barrie Iliffe Jeremy Rees Michael MacOwan Membership of the Council, Committees and Panels (cowomc,J )

John Manduell Clifford Hanley (D and L) Timothy O'Brien Ronald Johnston (L) Harry Pegg John Knox (A ) Allen Percival Ronald Macdonal d Owen Reed James Morris (A ) Ken Smalley John B. Rankin (D ) Miss Hazel Vincent Wallace, OBE Alan Roger (A) Ian McKenzie Smith (A ) Sub-Committees of the Training Committee : Ivison S. Wheatley (D) Actors' and Drama Schools' Working Group Designers' Working Group A = Art Committee Directors' Working Group D = Drama Committee Technicians' Working Group L = Literature Committee M = Music Committee The following co-opted members serve on one or more of these working groups : Co-opted Committee members :

Brian Bern Peter Branscombe (m) William Bessant Thomas Laurie (D) William Bundy Ronald Morrison (m) Stuart Burge, CBE Mrs Irene Sunters (D ) Peter Cheeseman John W. Clarke Art Panel Douglas Cornelissen James Mors (Chairman) Ronald Eyre David Cohen David Forder Peter Collins Ian Giles Miss Rosemary Harris John Harrison Dr David Irwin Peter James Tom Macdonal d Barry Letts Iain Mackintosh Book Awards Reading Panel Cedric Messina Alastair Borthwick Christopher Morley Miss Elenud Brow n Richard Pilbrow David Buchan Jonathan Porter Miss Deirdre Chapman Miss Caroline Smith Charles Gormley Robert Stanton Oswald Wynd Miss Janet Suzman Clive Swift Literature Bursaries Panel Carl Toms, OBE David Fletcher Douglas Gifford William McIlvanney Scottish Arts Council David Muriso n The Lord Balfour of Burleigh (Chairman) Professor Derick Thomso n Neil Paterson (Vice-Chairman) (L) Neill B. Aitken (M) Trainee Directors Panel Professor James F . Arnott, TD (D) Professor James Arnot t H. Jefferson Barnes, CBE (A) Mrs Kate Evelin g Percival Buchanan (M) Hugo Gifford Walter Cairns (m) Clifford Hanley David C . Dorward (M) Mike Ockrent Professor T. A. Dunn (D and L) Clive Perry Professor Michael Flinn (M) Ivison S. Wheatley The Earl Haig, OBE (A) Glasgow Arts Centre Management Committee Drama Committee John S. Boyle (Chairman) Co-opted members: Clifford Hanley (Vice-Chairman) Professor James Amott Ewart Alexande r Mrs Patsy Gibb Geoffrey Axworth y Ian Ireland Peter Gil l James Morris Derek Hollin s Mrs Cordelia Oliver The Reverend T . James Jones Ian McKenzie Smith Miss Molly Kenny Dr Thomas Parry Miss Olwen Rees Martin Williams

Literature Committee Welsh Arts Council Co-opted members : Colonel Sir William Crawshay, DSO, TD (Chairman) (A ) The Marchioness of Anglesey (Vice-Chairman) (A) Sam Adam s Christopher Cory (M) Bryan Martin Davies His Honour Judge Bruce Griffiths, Qc (A) Dr G. O. Jones Dr Glyn Tegai Hughes (L) Dr R. Brinley Jones R. Gerallt Jones (L) D. Tecwyn Lloyd Charles Langmaid (M) Dr Thomas Parr y Roland Mathias (L) Dr Gwyn Thomas Professor William Mathias (M) Professor R . George Thomas Henry Nyman (A and D) Aled Vaughan Dr Alun Oldfield-Davies, CBE (A and D) Professor J. E. Caerwyn Williams Mrs H . M. Ramage (L) John Stuart William s A. N. F. Rees (D) T. M. Haydn Rees (D) Music Committe e Gareth Thomas (M) Co-opted members : Wynford Vaughan-Thomas, OBE (D and M) Miss Menai Williams (L) Malcolm Boy d John Davies A = Art Committee John Fussell D = Drama Committee Glynne Jone s L = Literature Committee Arnold Lewis M = Music Committee David Mansel Lewis Kenneth Loveland Art Committee John Metcalf Co-opted members : Eric Wetherell W. S. Gwynn Williams Rollo Charles, Mc Mrs Glenys Cour Roger Cuckse y Michael Cullimore Arthur Giardelli, MBE Robert Hunter David R . Jones Peter Nicholas Mrs Maureen Owen Gethin Stoodley-Thomas David Tinker Derrick Turner John Wright

7

Staff Contents

Headquarter s 105 Piccadilly 9 Chairman's Introduction London wiv OA u 01-6299495 11 Secretary-General's Report

Secretary-General : Sir Hugh Willatt 33 Membership of Council and Staff Deputy Secretary-General : Angus Stirling Finance Director : Anthony Field, JP, FCA 34 Scotland Art Director : Robin Campbell, DSO Director of Exhibitions : Norbert Lynton 43 Wales Drama Director : N. V. Linklater, CBE Deputy Drama Director : D. G. Andrews 53 Annual Accounts Music Director : John Cruft Deputy Music Director : Eric Thompson Literature Director : Charles Osborne Director for Regional Development : Neil Duncan Controller of Touring : Jack Phipps Adviser for Festivals and External Matters : K. H. Jeffery Chief Administration Officer : J. D. Haskins Accountant : David Pelham, AC A

Scotland 19 Charlotte Square Edinburgh EH2 4DF 031-226 6051

Director : Alexander Dunbar Deputy Director : Harry McCann Assistant Directors : William Buchanan (Visual Arts) Christie Duncan (Music ) John Faulkner (Drama) Trevor Royle (Literature ) Director of the Council's Arts Centre in Glasgow : Tom McGrath (350 Sauchiehall St, Glasgow C2 )

Wales Hoist House, Museum Place Cardiff CF1 3N x Art and General : 0222-3272 2 Music : 0222-4305 5

Director : Aneurin Thomas Assistant Directors : Roy Bohana, MBE (Music) William Dufton (Drama ) Peter Jones (Visual Arts ) Meic Stephens (Literature ) R. J. K. Harris (Finance and Administration ) Accounts Officer : D. T. Murdoch Chairman's Introduction

The upheavals of the past year have brought man y changes, including the disappearance of two Minister s of the Arts. We were indeed sad to say goodbye t o Lord Eccles for it would be hard to imagine a mor e stimulating M inister. His vision of the place of the art s in society, and of the unifying role they can and must be made to play, provided a firm basis for our work. We benefited from the play of his brilliant and thoughtful mind on our affairs and are grateful t o him for the encouragement he gave us .

The outcome of the February election cut short th e E . J work of his successor, Mr Norman 51 John 5tevas , am" whose interest and enthusiasm were immediately apparent and with +% horn a close collaboration an d identity of aim had begun to develop . The presen t Minister, Mr Hugh Jenkins, is an old friend of th e Council's, having been a member from 1967 to 197 1 and of the Drama Panel from 196.1 to 1966 and agai n 000000 from 1972 to 1974. His experience gives him a specia l understanding of many of our problems . We welcomed him warmly as our present champion in Government . In him we have a staunch ally and advocate.

should also like to express to Council members, to Panel members and to the staff, my appreciation of thei r patience and continued enthusiasm at a time of exceptional difficulty . The readiness of the staff to work long hours, their complete impartiality and thei r ability to listen with real understanding to those wh o come to us for help - this is perhaps the Council' s greatest strength in attempting to solve the problem s we now face . Would that we had the financial resource s to match these human assets .

When this report appeared last year, it seeme d reasonable to suppose that the Arts Council's resources , which had grown steadily for the past decade, would continue to do so . Furthermore, under the recentl y introduced system of triennial planning, accepted by the Treasury as essential for the efficient conduct o f subsidised companies, we had been allowed to expect a continued annual growth of 10 per cent in real terms .

The change in the economic outlook has brought all thi s to a halt. Triennial planning has, we hope temporarily , had to be abandoned before the end of the firs t triennium. We do not know the amount of our gran t for next year and can give no indications to ou r 'customers'. Meanwhile the 197475 grant is £19 . 585 million, a rise of 14 . 3 percent on 1973/74. Since the officially recorded rate of inflation is 17 per cent ove r the past twelve months to July 1974, it will easily be see n that our real resources had declined by 2 .7 per cent at Chairman's Introduction (( owimwd )

that date. Without allowing for further inflation it wil l to be part of the process of education . Moreover the cost at least £25 million in 1975/76 to keep going th e boundaries between art forms are tending to dissolve, activities sustained in 1974/75 on £19 . 585 million . and there are even those who assert that the arts have no separate identity from questions of social behaviour . There is, of course, a natural disposition in times o f So it is that patterns of activity in the arts, and o f economic stress for the Government to make cut s demand for them, are more shifting and varied than ever , `across the board' . It seems fair and admits of least as more people show their wish to participate in the argument. But the support of trading enterprises, suc h arts, often in informal and non-traditional ways . Yet, as theatres, orchestras, opera or ballet companies, i s alongside all this, the demand for traditional opera , unlike most other forms of Government expenditure . ballet, drama and concert performances of the highest If we cut a company's subsidy in real terms, its earned standards grows at an ever increasing rate, not merely i n revenues may suffer too, and its difficulties are likely t o the largest centres but all over the country . increase. The decision must therefore be to support it properly or do without it altogether . Anyone who ha s Thus we have arrived at the point when the Counci l had to decide whether to inject funds into a revenue- needs the maximum flexibility to change, and to revie w earning enterprise which is not paying its way wil l existing priorities and policies . Yet this flexibility is recognise the dilemma. hardly possible without a substantial increase in its rea l resources, unless it is to abandon a significant part o f The effect of inflation on wages and other overheads the work it is now supporting and has nourished for a now threatens the survival of many of our supporte d long time. The plain fact is that a great deal of wha t companies . Several have made it clear that they canno t public funds have helped to create, and which canno t continue to exist without larger grants than we hav e exist if they fall below a certain level, is now at stak e been able to allocate to them . There is great anxiety and - almost everything, indeed, which the present Minister the guidance of the Arts Council is being sought on al l has described with enthusiasm in a Government report sides. With no indication of next year's grant, little published this summer under the title `The Fruits of guidance, let alone any more material form of assistance , Patronage' . The Arts Council shares his enthusiasm for can be given . the fruits of patronage and hopes that the Government sets enough store by these fruits to ensure their survival . It would, of course, be possible to decrease the We need the arts in bad times even more than in good, Council's directly promoted activities, that is to say to and the cost of continuing the work is, in national have fewer exhibitions and to make fewer direct grant s terms, minuscule . Furthermore, if the best of ou r to artists and writers . But these are the areas in which artistic institutions are allowed to wither, the damage the Council already spends a relatively small proportion done to an aspect of our national reputation which stil l of its funds, since the maintenance of companies in th e stands high will be totally out of proportion to th e performing arts is highly expensive and takes most o f money involved . It is, above all, in the arts that this the money . To decrease direct spending still further country has had its post-war successes and to invest i n would save little and would aggravate the present success must surely be the right course in choosing our disproportion between support for the performing and present priorities . A Government which increased it s the creative arts (except in so far as the former are a support for the arts in hard times would have a rea l vehicle for the latter) . claim on the gratitude of posterity .

It hardly needs saying that in present circumstances it Let us take heart from the seventeenth century when will be extremely difficult to find support for ne w times were no less troubled than our own . At Staunton activities to which the Council has not already pledged Harold in Leicestershire there survives a chapel o f funds. An extension of support for community art s exceptional beauty, built during the Commonwealth i n and a beginning of support for amateur activities, of th e 1653. Over the entrance runs an inscription which kind I referred to in my introduction to last year' s reads: `When all things sacred were throughout y e report, must wait for easier times . nation Either demollisht or profaned, Sir Richar d Shirley Barronet founded this Church, whose singula r It is particularly unfortunate that the ending of the lon g praise it is to have done ye best things in ye worst time s period of growth in our resources coincides with a And hoped them in the most callimitous .' A like tribut e moment when all established institutions and establishe d will be due to an Administration which recognises the ways of doing things are being tested and questione d special value, and the special needs, of the arts in time with greater urgency than before. The arts are recognised like our own .

I 10 r Secretary-General's Report

Part I-Introductory

The Account s galleries, and these are outside Arts Counci l In this report the Arts Council accounts for it s responsibility. expenditure of public money in the year 1973/74 . Of the grant-in-aid of £17,138,000, £15,584,054 went in grant s All the same, this assumption, conscious or unconscious , to some 1,525 organisations and individuals i n lies behind much recent criticism : the belief that th e Great Britain, the largest being £2,020,000, the smalles t Council has, or perhaps ought to assume, mor e £ 10. The balance was spent on the Council's ow n authority than it has at present . There is also a failure promotions and in other forms of direct expenditure . to realise the limitations on what can be done wit h The Accounts on pages A32 to A62 give all the figures, present financial resources, but that is another matter . although hardly the whole story . The Scottish and Welsh reports appear separately on pages A64 to A9 5 Promotion of the arts is, under our system, diffused - and most interestingly show the differing approaches o f how widely can be seen from a glance at the Account s their separate Councils to their particular problems and the list of grants which follow . Over most of the field and opportunities . responsibility for policies, programmes, the encourage- ment of artists, the giving of commissions - respon- Behind the Council's annual display of figures in their sibility for what is created - lies with the recipients of neat categories lies the background of artistic creatio n Arts Council grants, and not with the Council itself. during the year, untidy, often disturbing, in resul t covering the whole range from triumphant success t o To point this out is not in any way to deny the heavy dull mediocrity . Behind it all lie the efforts of artists an d responsibility which lies on the Council . Obviously the performers of bewildering variety and standards , size of its subsidy is one of the factors controlling what a supported by administrators, boards and local subsidised organisation can do and its ability to develop . promoters. It is a national asset . It is not the only factor . Artistic quality is another : so are flair, sheer determination and the capacity to wi n Too much, however, it is a tale of make-do-and-mend the public. And this applies to an arts centre, an art Most of it is being done with resources which to th e gallery and a festival as well as to theatres, orchestras Arts Council, as well as to the recipients, see m and opera houses . Only in a very limited number o f inadequate. In the Council's earlier years, this was a ways, of which the most important, the arranging of ar t leading theme in every annual report . It is sad that i t exhibitions, has over the years been one of its mai n has to be so again, but inflation, no doubt the topic o f achievements, does the Council itself promote. every institution's report this year, hits the arts very hard. To some statisticians and other tidy-minded people a system mainly based on response to other people' s Some Criticism s promotional activities, haphazardly occurring, which In this context, some thoughts on present policy may allows them complete independence, and tolerates be timely. Recently there has, from various quarters, ups-and-downs and bad patches - all this suggests ba d been criticism, not of the Council's raison d'etre, nor of planning and inadequate cost effectiveness . public expenditure on the arts as a matter of principle - that battle was won long ago - but of the Council' s To many individual creative artists, it seems that th e methods and an apparent lack of logic and fairness i n Council responds too readily to energetic efforts o f the distribution of its funds. Some of it certainly i s promoters of expensive schemes for the arts involvin g based on misunderstanding of the Council's function . performance, while ignoring the claims of the writer , the comboser and the artist . It is not, and never has been, the function of the Art s Council to be the great promoter of the arts in Great Those, on the other hand, responsible for the operatio n Britain. Yet because the Council is now the mai n of hundreds of enterprises in theatre, music, opera an d dispenser of public money for the arts, and perhaps ballet, think that the Council spreads its resources to o because in many European countries State an d thinly by adding others to their number, or by Municipality not only provide the funds, but are b y embarking on a multitude of schemes for the benefit o f tradition directly responsible for the operation of opera artists and writers who can, at any rate, find som e houses, theatres, orchestras and art galleries, people ar e market for their work, however limited and unrewarding beginning to assume that this, to all intents an d that market may be, or schemes designed to spread purposes, is the situation here . It is not : except in th e interest, train or elicit experiment . The Council, they case of certain national and municipal museums and say, should concentrate its funds on their own

11 SecretarN-General's Report (continnrd )

admittedly expensive operations, which would simpl y supplied .) The method has stimulated and exploited th e not exist without Council subsidy, and whose future i s initiatives of promoting boards, local and national, an d in peril because. in spite of good audiences, that subsid y the enthusiasm and dedicated work, mostly voluntary , is too small . of thousands of people who have got together t o support an enterprise or keep it going. The emergent companies and experimental groups think that too much goes to the middle-class establish- Finally, the method has been extraordinarily productive . ment. The list of supported organisations in Schedule 3 of th e Accounts shows the extent to which, in spite of gaps, There is point in all this criticism. The deficiencies the country is covered . revealed are mostly genuine enough . An increase i n Council funds would go a long way to provide th e The principle of response to other people 's initiative s remedy, but of that more later . What can be done wit h does not in fact mean that the Council has been blow n present resources ? hither and thither by every wind, or rushed in with hel p in response to the loudest voices . The amount of money The present financial situation of the Council' s available has never been enough to allow indiscriminate independent clients, resulting from inflation, makes it response, and choices have had to be made. The ways extremely difficult to fill obvious gaps, to shift emphases , in which the Council makes these choices are describe d or to plan for the future . This situation, even if n o later, and priorities change as financial resources critical voices had been raised, would have demanded a fluctuate, as artists come forward with fresh ideas an d close examination of current policy and methods . needs, and as new opportunities arise . In the past ten That examination is now, under the heavy shadow o f years, however, the main emphasis has been on regiona l inflation, taking place and involves a fresh look at th e development and on ways of bringing what is alread y Council's basic policies . happening, to more and more people . The ne w enterprises supported in the London area have in that A short summary of those policies and a description o f time been few indeed. the Council's methods may help towards an under - standing of the problems. The three main elements i n If in pursuing these methods, the Council has spread present Council policy can be simply stated. its resources too thinly, this has been the result of deliberate policy and, with strong Governmen t Council Policy I encouragement, to further the spread of the arts , Response and the Indirect Rol e particularly in the regions. Of course, the Council ha s First, there is the belief in the doctrine of `response', o f been aware of the precarious financial position of man y contribution to independent enterprises, untidy thoug h of the enterprises it has helped to bring into being, an d some of the results may seem, and despite the resulting the effect of adding new ones to the list . All the same , emphasis on the performing arts . The very existence earlier Reports have been able, justifiably, to point ou t of such enterprises depends on subsidy. They are buil t that of all the supported organisations involved in thi s on a foundation of enthusiasm, have often strong local highly speculative business of public entertainment - roots, and sometimes the benefit of a long tradition . and they now total nine hundred - less than ten hav e Secondly, public money combined with autonomy and collapsed in the past quarter of a century . This confident independence have often (though not always) saved us note can, alas, no longer be struck . Up to no w from the dullness and conformity of `Establishment' art , Government response for additional funds each yea r officially recognised and approved, and the prevailin g has just, but only just, matched Arts Council response . variety and liberty to experiment must largely be due t o Inflation, the impact of VAT and the ending, temporaril y that freedom. Many people would add that each o f it is hoped, of intimation by the Government of the these businesses benefits from a bracing discipline , level of the grant-in-aid three years ahead, have spoil t because it is, in the last resort, out on its own . Given a the calculations. certain subsidy addition to its takings, with Council insistence on adherence to budgets once approved, i t The Council sees the need to continue this policy of has to pay its way . Its officially-run and heavil y discriminating response, with its regional emphasis, a s subsidised counterpart on the Continent has no suc h well as to strengthen the enterprises already supported an d discipline. (Few knowledgeable people would doubt, enable the best of them to develop, as artistic however, that at present that discipline is over-strictly organisations must .

12 Council Policy H with Local Authorities and Regional Arts Association s Partnership in Subsid y in the belief that financial support for the arts should In this situation a second element in the Council's come from local, as well as central government fiends, an d policy has acquired an extra urgency . This is the effort that the present imbalance should be remedied: and also to obtain for its clients some supplement to its ow n because of its belief in the importance of regional grants from local authorities and other sources. This enterprise. effort has, over the years, had increasing success an d recent local government changes provide a special Council Policy III opportunity. All the arguments already advanced in Growth in Direct Promotions and Initiatives favour of autonomy and independence support the case In spite of all that has so far been said about the for diversity of subsidy instead of support from one principle of response and the Council's indirec t single patron, and a closer partnership, particularl y function, there has, in recent years, been a marke d with the larger authorities, could be really productive . growth in activities which go beyond the traditional As to the exact nature of that relationship, there are stil l subsidising role . Two outstanding examples of this have problems to be solved, some of which are mentioned been the Housing the Arts scheme and DALTA touring . later. On both sides there is great willingness to tackle this problem, and some progress has been made . In ten years the Council's Housing the Arts contribution s amounting to £5,835,000 have resulted in buildings ne w Regional Arts Associations represent partnership in a or substantially reconstructed, at a total cost of £3 4 particular form, involving Local Authorities in a special million, the rest coming from Local Authorities and way. Their encouragement is, and will remain, a private sources . Now the scheme begins to lose momen- principal item in Council policy . The increase in the tum, as the amounts which can be offered from the annual amounts given to the Associations each year clearl y commitment ration of £750,000 for Great Britain as a shows this . Last year it was £1,416,285 . whole, become less and less meaningful in relation t o current building costs . The operation of the DALTA The Associations have not been imposed from th e scheme for the organisation of touring in the regions i s centre, but have grown from local enterprise, and the y more recent, and still, to some extent, at a formative are autonomous and independent . The Arts Counci l stage, beset with the problems resulting from inadequat e has responded with money and given guidance . Its new theatres for opera and ballet, the financial difficultie s Regional Department, responsible for regional of the participating and independent companies, an d development generally, is now there to help . The the great expense involved . Nevertheless, the purpose i s Associations have drawn from local government funds there to ensure that the major national companies fulfi l a valuable, if still inadequate, contribution, and they in the widest sense their national role and to increas e involve their participating authorities in the giving o f touring at every scale, and the achievement is real . subsidies, artistic promotion and encouragement . Touring weeks have steadily grown from 162 in 1970-7 1 All the same, this particular partnership still lacks a to 231 last year, and facilities - particularly orchestra proper balance . The Arts Council provides in ever y pits - have been improved, with Council help, in a case more than half the money, and in some cases muc h number of theatres. more, and the Associations are still too Arts Counci l dependent . These two examples apart, the Council has in recen t years seen opportunities which could best be met b y The Arts Council has each year devolved responsibilit y itself taking an initiative, and needs in the arts ofte n for the support of some artistic enterprises on to the supplementary to actual promotion, which could onl y Associations, and will continue to do so . The be filled by action taken from the centre . There was Associations themselves stimulate the growth of ne w sympathetic encouragement from successive Minister s activities . The Council cannot, as things look at present , to move in some of these new directions . find increases at the rate of recent years and still do it s own job in the regions and at the national level . It is Until a few years ago the list of the Council's ow n surely right that Local Authorities should more an d direct promotions was a short but important one : the more share the responsibility for the encouragement of touring of Opera for All, the running of the Wigmor e the arts in the regions, and in doing so make use of thi s Hall and, one large-scale activity, the operation of the instrument which lies to their hand . Hayward Gallery and the mounting of up to forty art exhibitions there or elsewhere in London, or to tou r It is Council policy to continue and develop its partnership the regions.

13 Secretary -General's Report t (ontimied )

That list is growing . The opportunity was seized a fe w The Council believes that it is important to continue and years ago to take over and run the Serpentine Galler y develop activities of this type as a necessary complemen t in Kensington Gardens, now after a trial period given to the processes of response with subsidy to independent heating and light and opened all the year round, mainl y organisations . to show work of young artists. The Council gives grant s to a number of independent galleries in various parts of Council Policy IV the country, and under a new scheme to gallerie s Methods and "Democracy " operating commercially, but there is certainly room fo r Given the purposes already outlined, the Council need s more Council initiative in this important matter of a machinery properly geared to their achievement . gallery provision, funds permitting . At this point, methods rather than policy ought to b e looked at . Also on the art side there has been an extension of the Council's sponsorship of the making and showing of ar t The Arts Council is there to provide resources and films, an area capable of much further expansion, as th e encouragement - to be an agency, not a creator. Attenborough Report showed, and the creation of a Its Chairman and Members are appointed by th e Photography Section . On the music side a Government, its composition changes in part every year , Contemporary Music Network has been created fo r its chief official is responsible to Parliament for th e the performance of new music in the regions, and an expenditure of a sum of money voted annually, whos e increasing number of grants for performances of jazz , amount governs the measure of its opportunity. The in a way which virtually amounts to joint promotion . Minister for the Arts, having made the Counci l appointments, is the member of the Governmen t There have been direct initiatives in many other responsible for the provision of funds, and the Art s directions : efforts to spread the availability of the arts , Council, its clients and their activities are, among hi s like this and last year's advertising and promotion other responsibilities, his care and concern . exercises in three regional cities, and the Council's participation in Quality of Life Experiments in four centres in England, Scotland and Wales . There has bee n How far, given these links with Government and the the opening of the Arts Council shop and the issue , democratic process, should the Council itself devis e bi-monthly, of the Arts Council Bulletin, one of the `democratic' procedures for the carrying out of its task ? efforts of the new Regional Department to lin k This is a question interestingly raised by the presen t 105 Piccadilly more closely with the Regions . The Minister for the Arts and is really a practical one . commissioning of the report by Sir James Richards on Would such procedures enable the Council to fulfil it s the West End and its theatre area, illustrates th e obligations to the artists and the public more effectively ? Council's growing involvement in the related areas o f planning, environment, and recreation . The Counci l Panels and committees Training schemes have been expanded and need furthe r The Council has always had the co-operation of th e expansion if the talents and skills required in support of artistic professions in doing its work . This help is the arts are to be found : in Arts Administration and in generously given through service on the Advisory Panel s various types of technical training . There has been the and also on specialist committees, enquiries and specia l sponsorship of pension schemes for dancers an d meetings. Some idea of its range and quality is show n musicians . The list could go on . by the lists of Panel and Committee members wh o served last year . Membership of Panels changes fairl y Direct help to individual artists might also be included rapidly ; appointments are usually for three years, and i f in this growing list of activity outside the basi c it is difficult to find a replacement in a special subsidising function . On this important topic something category. The appointment may be renewed for a limite d is said later, particularly in relation to the visual art s period, assuming willingness to continue . Service and to literature. involves quite hard work which, for many artists and professional people, means a financial sacrifice . Work o n In a time of inflation these initiatives, the directly the Panels and Committees concerned with the provided activities and the grants to individuals become performing arts can be particularly exacting as i t particularly vulnerable. Their curtailment is very much involves attendance at frequent specialist sub-committe e easier than withdrawal or reduction of grant to meetings. No fewer than 250 people joined in the independent trading enterprises whose existence woul d Council's work in England by service on Panels , immediately be in jeopardy. Committees and Enquiries last year .

14 Without this help the Council could scarcely operate , - all this needs to be effectively serviced . In addition, the except in a much more bureaucratic way, and with a staff are there to travel the country, to maintain link s greatly increased professional staff. As it is, the Counci l with supported organisations, authorities and has in its Panels and Committees the benefit of a wid e individuals, to operate quite elaborate financia l range of skills and experience, managerial, financial and procedures and ensure proper accounting for th e critical as well as artistic . Their members should diffe r expenditure of public money . The Council looks to it s in artistic outlook and in age (each Panel has many officers to carry out on its behalf the day-to-day busines s members under thirty-five) and they must bring know - of sustaining and encouraging the arts in this country , ledge of different parts of the country . It is difficult to though in these areas, too, the Council Chairman , see how all this specialist advice could be obtained , chairmen of panels and sometimes Council and Panel and in the right balance, unless Panel members were members are not infrequently involved . invited to serve by the council itself, after careful con- sideration of the type of expertise needed. It is, however, the role of the staff in the making o f grants that is sometimes questioned . Of course, officer s It is, on the other hand, wholly in the Council's interest `process' the applications . Council Panels and that Panel and Committee membership should be a s Committees could not otherwise make their judgments . widely drawn as possible, and people who have a rea l Further information is often needed to supplement a contribution to make, and are willing to make it, ough t written case if it is to be fairly presented, and applicants not to be missed . The suggestion that names should be are often helped with advice at an early stage . Officers submitted by representative organisations where they certainly try to do these things fairly and objectively . exist, and truly represent their professions and separate interests, may be a fruitful one. Schemes are under In this matter the Council has long had two rules . consideration, and one for the Drama Panel is no w All applications which go beyond the stage of a tentative being tried as an experiment . enquiry and which are not obviously outside th e Council's terms of reference, are considered by a Pane l One thing is clear . Even if methods of choice were or other specialised Committee . Secondly, no grant is improved, Panel members should, once they are offered by the Council unless it has been recommende d appointed, be there to exercise personal judgements i n by such Panel or Committee, and all rejections ar e relation to the Council's own problems, and not to subject to the same procedure. speak for their organisations and its members . The nature of their task, a practical one, demands this an d Council officers, from the moment they join the staff , Schedule 3 tellingly illustrates what that task is . learn that they have to temper their own judgment and artistic tastes to a 'Council view' as it emerges from the That is how it looks from a Council, and indeed a n processes of Panel, Committee and, finally, Counci l officer, point of view. It has usually seemed to look th e consideration . At the same time, and the combination same from the point of view of people who serve . If, as is not easy, they have to retain that enthusiasm for thei r is sometimes suggested, Panel and Committee member s own specialities and the ability to guide and encourage feel that they are ciphers, why should they give so muc h which are so essential in their jobs. of their time? Resignations on policy issues are extremely rare, though they happen . Panel and Committee The role of the Council itsel f members, professionals in the arts, are in their natur e Finally, Panels have to make their judgment within th e independent, original in their judgments, occasionall y limits set by overall Council policy, and sometimes awkward - more so, perhaps, than the experience d particular Council decisions . Panel members - eve n committee man likely to emerge from an electio n specialist officers - may occasionally chafe at this, bu t process. These qualities have up to now strengthened the Council, ultimately responsible, is alone in th e the Council's work. position to. reconcile competing demands ..

Council staff The amount of money assigned by the Council to eac h The officer's role is important, as it must be wit h of their separate spheres of activity is, of course, the £18 million to dispose of in 2,250 direct grants. major limitation. The division into categories of Monthly meetings of the Council itself, a great deal o f expenditure is made by the Council and its Estimates voluntary work from Committee and Panel members, Committee - in effect the Panel chairmen and Deput y with extra contributions from their chairmen and a very chairmen (who are Council members) with their other special contribution from the Chairman of the Council Council colleagues - and in this important matter and

15 Secretary-General' ,, Report 1 , ~~ nrr,u<<< 1

generally throughout the year Panel chairmen an d theatre also provide opportunities for artists , Deputy chairmen and the Departmental Directors brin g choreographers and designers. These inevitabl y to the Council not only recommendations for grants , expensive organisations provide the outlet needed for but Panel points of view and ideas . They bring back t o new work . It is argued, and justly, that they do not d o their Panels Council decisions and Council policy . Every enough that is new . It is Council policy to increase its final decision to make an offer of grant is made by the present help for this purpose, but the performance of a Council itself. All these, and other processes - Pane l new work adds considerably to the expense and recommendations, ideas and proposals, officers' report s sometimes reduces takings. As usual there is a money on the work of their departments, the recommendation limitation. of Committees and Enquiries - lead to the framing of Council policy and decision on all major questions . However, leaving aside this country's remarkable record in finding new playwrights in the past fiftee n The performing arts versus the individual artis t years and our recent achievements in newly created Grants to individual artists raise specially difficul t opera and dance (the Ballet Rambert created sevent y problems. Recently there has been something of a n new works in ten years), it must be pointed out and wit h outcry on this topic. The case, a real one, seems often some emphasis that the Council and the independent to be spoilt by over-statement, and particularly because promoters have a responsibility also to the public the Council's critics tend to skate over the question of which only slowly takes to what is new . Each succeedin g quality and standards . Even if money were available , generation wants the classics - Shakespeare, Mozart , the Council could not accept that anyone aspiring to be the French Impressionists, and the names it knows a s an artist, anyone who has temperament, aptitude an d well as the names it does not know. Our presen t training, automatically qualifies for public support . Minister has recently, and rightly, emphasised one All the same, it is certainly true that there are far too element in the Council's work - the obligation to the many artists whose contributions are hindered or even consumer : and, in the long run, a growing public lost to the country because of inadequate funds or an means a greater opportunity to present new work . imperfect system . The Council, with limited money an d Nevertheless, the Council does itself make many grant s a wide range of responsibilities and its particular way o f to individuals . Table A gives some details . working, cannot be saddled with total responsibility here, though it can always be charged with a lack o f The ideas recently put forward on this subject on behal f balance between the different arts, or between it s of individual creative artists are welcome and are being obligations on the one hand to raise standards, and o n studied. Ideas and criticisms are needed but these often the other to spread availability . tend to be sweeping and might sometimes take a mor e practical form . The results which have come from There is no burking the fact that the greater part of th e response to the initiatives of others have already bee n Council's funds is tied up because of accumulated described . Does not this suggest that if some of the obligations to the performing arts . The performance o f Council's more impatient critics come along with a music, theatre, opera and dance has been a primar y scheme designed to fill some of the gaps - a schem e obligation from the first, largely because performance which they themselves would be prepared to operate at the highest standard (though drama provide s - the Council, money permitting, might be willing t o exceptions) cannot happen these days without subsidy help? Quite often groups of artists, or people dedicated and it is surely no over-statement to say that our succes s to their interests, have come together to start a projec t in the performing arts represents a national achievement to enable work to be shown - and sold . The Midland An obligation to literature (other than poetry) was Group Gallery in Nottingham (formerly the Midlan d assumed fairly late in the Council's history though th e Group of Artists), the Amolfini Gallery in Bristol, th e visual arts have always been a major responsibility, and Museum of Modern Art in Oxford and the Ikon Gallery some problems affecting current art policy ar e in Birmingham, all started in this way . So did AIR and discussed later . SPACE, the schemes to provide artists' studios and an Artists' Register . All these receive Arts Counci l So far as composers and playwrights are concerned, th e grants. immediate responsibility for commissioning or providing outlets for their work falls not on the Council but o n Criteria of choice the subsidised orchestras, theatres, ballet and oper a Efforts are made from time to time to define criteria o f companies, and the Council specifically encourages choice - easier to define in some areas than in others. them to do this by extra grants . Opera, ballet and Too rigid a definition may be harmful . Where the arts

16 are concerned there must be room for flexibility, flai r Is this a justifiable proportion ? and a degree of capriciousness of choice, even where public money is involved- indeed if it is to be spent to The Council cannot help being, to some extent, th e the best advantage . prisoner of its existing obligations . These independen t - and trading - organisations need to know that thei r The greater part of the Council's money, in fact, goes i n grant is not for one year only, to enable them to pla n grants resulting from choices - obvious choices - mad e ahead with some assurance and also to avoid that recip e many years ago . There cannot have been much doubt , for mediocrity - a nagging pressure to play for safety. once need was proved, whether to subsidise the grea t Assessment each year of their need, once the importan t Regional Orchestras or the Repertory Theatres o f initial decision has been taken, is not just a financia l quality, and, as more funds became available, t o exercise. Box office returns are supplied regularly an d encourage the creation of others : to subsidise th e Council and Panels are kept in touch continuously wit h widespread concert-giving activities of the music club s the fortunes of each `client' . That surely is what and societies which now come under the Nationa l `patronage' (in a contemporary sense) should mean . Federation umbrella, or to give grants to Sadler's Wells No artistic organisation stands still, and the simpl e and the Old Vic. From the date of the first Charter i t formula, a fixed grant plus so much to cover cost o f was a basic assumption that substantial money would living increases each year, is not the right answer, thoug h have to be provided to enable this country to have a that - and quite often something less than that - has t o permanent opera company and orchestra at th e be the answer . There may be a need to expand, the work international level at Covent Garden . Funds were may have a special artistic impetus, audiences ma y clearly needed to enable the four symphony orchestra s dramatically grow, a new building may be possible . based in London to give public performances, thoug h `To him that hath' may sometimes be the right policy . arguments continue about the system, the ideal numbe r There may, on the other hand, be bad trading results o r of orchestras, and the financial and artisti c a crisis to be met . consequences of change . The creation of the National Theatre Company followed upon Government an d Very occasionally the Council, advised by a Panel, has GLC decision to provide a building and a site, and a to decide whether grant-in-aid to an organisation shoul d share in revenue subsidy for the company became a cease : artistic flagging, dwindling public support - thes e Council obligation, willingly accepted . are the usual criteria . The Council's policy is to give preliminary warning, and if things do not improve, a t On the other hand, the decision by the Royal least a year's notice of actual withdrawal of grant wil l Shakespeare Company to extend its operation by takin g follow. The procedure is difficult and painful. Account a theatre in London and the move of the Sadler's Wells has to be taken of all that has been put into th e Company to the Coliseum, raised for the Council an d enterprise, often over a long period, and the Council's its Panels serious issues which were long and carefull y obligation to local authorities and local public . Very debated. The moves were approved, despite the financia l occasionally this nettle has to be grasped . For this implications, partly because of the artistic opportunities reason the decision to offer support for the first time presented (in the event triumphantly seized) and als o has to be very carefully weighed . There is no automati c because at the same time the Council was able to match qualification for a Council grant provided certai n these commitments with a strong policy of regional conditions are fulfilled, and refusal need not imply lac k development made possible with Government of qualification, but simply shortage of funds, or othe r encouragement and the provision of larger funds . provision in the area . The result, immediately, was that 50 per cent of th e Council's money went on four national institutions. Existing obligations have to be honoured . Does this That proportion was steadily reduced, and is now mean that activities other than the performing arts onl y 25 percent . get what is left over in money and attention? Th e schedules to the Accounts give part of the answer i n The balance between the different arts terms of number and size of direct grants : only part, In these ways the Arts Council acquired its obligations because they do not fully reveal what the performing to its independent clients, some 900 of them in Grea t organisation themselves do for composers, playwright s Britain - not only the promoters of theatre, music , and designers without special Arts Council help . New opera and ballet, but also of art galleries, art centre s plays at the Royal Court, the National or the Aldwyc h and festivals. Together they received a total of are one example . New operas at Covent Garden or the £15,289,000, some 89 percent of the total grant-in-aid . Coliseum are another . These and other companies like

17 Secretar,, -General's Report (continued )

the Scottish and Welsh Opera are not unimportan t Then there is the Council's obligation to the visual art s patrons . and to literature and this calls for rather specia l consideration . Whether the Council does as much fo r Grants to artists, direct promotions, and initiatives o f art as it does for music and theatre is a difficult question . many different kinds have under recent Council policy Comparing the money spent on each does not give th e markedly increased . Is the balance right? Obviously any answer. The number of people visiting Arts Counci l marked shift in the weight of distribution cannot b e exhibitions is about the same - one million - as the easy or rapid . Before a year begins the Council itself, number attending opera performances by the subsidise d having learned in the ways already described of need s companies. These performances are in their nature and possibilities, makes a strategic allocation of the complex operations, and they cost many times a s year's money, department by department, function b y much . But where the visual arts are concerned th e function. In theory it could make radical policy change s Council and the Art Panel have to take into accoun t to switch its funds into new areas ; less, say, to opera an d what is being done by other agencies : by the museum s theatre, more to individual artists, to literature or t o and galleries, national and local, by art dealers and by `community arts' . If a decision of this sort were made private patrons. Of course much more ought to be done . it would be in the daunting knowledge that much whic h The Council has from its earliest days tried to fill the had been built up with great effort over many years , gap, but shortage of money apart, it is possible that involving local money and service to local audiences , increasingly rapid developments in the character o f would be destroyed. contemporary art during the last ten years or so hav e made it exceptionally difficult for Council interest an d Many people say that too much of the grant goes i n support to keep step . `Performance art' is a case i n support of opera. The growing audience (over on e point, coming as it does between the spheres of art an d million seats sold a year) and the high standard o f of drama ; another is `Community arts' which combine achievement are facts to be taken into account . aspects of performance art with social and welfar e Is the Royal Opera Company to disappear and activities . Both appear to merit Council support ; the Covent Garden to revert to a system of ad hoc thoug h second should also, by definition, be able to count o n doubtless glittering seasons? Should we jettison ou r substantial local authority backing . national achievement of a permanent ensemble of company and orchestra on the international scale, With rapid diversification of what comes under th e performing each year to 90 per cent of capacity? Ho w umbrella of `art' the Art Panel - which advises th e much importance should we attach to the fact that the Council on subsidies, grants and awards, but is also larger Coliseum provides a home for a widening publi c concerned with a formidable exhibitions programme - at cheaper prices for opera in English, and did so las t has gradually been complemented with specialist year to 78 per cent of capacity, as well as providing a committees dealing with art films, photography an d base for touring? How important are the achievements performance art . Nevertheless, its burden remains a of recent years in the creation of the Scottish and Wels h heavy one and its judgement has to operate over a Opera, or of other important companies servin g widely varying, and in some cases, elusive range o f audiences in the Regions ? possibilities and demands .

The fact of an increasing public for traditional opera, Schedule 3 shows what is done by way of material ballet, drama and concert performances (and wit h support : in addition to making grants to individua l widening repertoires in each case) must in turn b e artists, the Council subsidises some sixty gallerie s weighed against the wish of many people for mor e and exhibiting bodies, contributes towards the provisio n informal participation in the arts and a preference for a and equipment of artists' studios, gives space and the setting that is familiar and intimate rather than gran d Artists' Information Registry their basic finance, make s and imposing . Disposal of the money in roughly the and tours films about and by artists (the tour s present measure (the balance has, of course, shifted over becoming increasingly international), supports an d the years) has, at any rate, helped to make possible thi s guides public and private commissions for work s country's successful achievement in the arts since th e of art in places accessible to the public, and itsel f war and not only, though perhaps especially, in th e purchases the work of living British artists . In performing arts. This, all the same, gives no fina l addition the Council operates two galleries : one answer and that is why the Council is once agai n of them, the Hayward Gallery, includes one-man examining its priorities and also why these question s shows and also broader exhibitions of contemporary are now posed for public consideration in this report . British art in its programme : the other, the Serpentine ,

18 has been devoted exclusively to the living, and usuall y would not necessarily be the best way to encourage the younger, British artist (though as its open season literature . Poetry, for instance, is a way of life rathe r grows from the initial seven months to very nearly th e than a professional career ; poets have earned thei r whole year, its programme can be expected to become living as bankers, publishers, teachers, radio producers , more inclusive without abandoning its first mandate) . housewives, critics, farmers, even TV personalities, Altogether 59 exhibitions were shown in the Council' s without apparent detriment to their poetry. The Counci l galleries and in regional galleries . The work of living engages poets and writers to tour in the regions, and t o British artists was substantially represented in thes e read and discuss their work in schools. By its grants to exhibitions, and it can also be assumed that many o f the Poetry Society and the Poetry Book Society, i t the other exhibitions provide a service to artists . There enables those organisations to encourage poets and still remains a lack of adequate gallery space for th e poetry in a variety of ways . Next year it is directl y showing of work. helping poets and writers of fiction by publishing th e first of what will become annual anthologies of verse Yet there remains the anxiety that periods of economi c and short stories. What should also be borne in min d difficulties may press especially hard on the artist . To an is that the Council's grants to magazines are anothe r exceptional degree, internationally speaking, the Britis h form of subsidy to the individual writer, for most of artist is dependent for his livelihood on full-time o r these grants are given specifically in order to enable th e part-time teaching in colleges and schools . The number magazines to maintain and improve the level of thei r of teaching places has, however, recently diminishe d payment to contributors . and it is possible that further reductions may follow, s o that the ability of artists (other than those few whose Conclusio n reputations in the international art world are safely The broad features of present Council policy have been established) to go on pursuing their profession becomes described and its methods and procedures examined a t increasingly problematic . Artists' demands on the some length . Up to now it has been possible t o Council grow in scale as well as in their variety, and i t implement the policy of response and at the same tim e is not surprising that there has been some public to continue and increase some direct provision an d questioning of the scale and variety of the support wit h widen the range of activities . Obviously the Council has which it has been able to respond . not done for the arts and for artists all that ought to b e done. Its method of division between the different art s The need to fill gaps and to take account of what i s will, like its geographical distribution, always be ope n being done by other agencies is even more marked i n to criticism . It has all had to be done within the limits o f the case of literature . A great deal of literature is government provision and every step has been taken i n produced by the normal commercial processes, and by the knowledge of what was likely to be received and taken publishers' willingness often to use part of thei r quite often with direct government encouragement . resources to subsidise serious literature, though the In the past ten years especially, the Council's obligation s Council hardly needs reminding that the financia l to its clients, to the artistic professions, and to the publi c rewards for writers of creative literature are, except for a have enormously increased . Lady Lee's White Paper few, quite inadequate, and that work of quality ma y of 1965 was, of course, a watershed, and with Lord sometimes have difficulty in finding a publisher. Public Eccles as Minister of the Arts, further developmen t libraries and a great many bookshops, the paperback became possible, particularly in a regional direction . trade in particular, provide a high degree o f The ten years since 1964 have seen a great increase in dissemination, though again, no reminder is needed o f standards in the number of people attendin g the urgent need for a public lending right . performances, or participating in the arts.

The Accounts show that the Council has tried to fill The scope and extent of the Council's response to the these gaps: grants to writers to buy time to write, t o White Paper and to the lead given by successive enable books to be published, grants to little magazine s Ministers can be illustrated by the lists of ne w and little presses, the operation of a poetry library, th e developments in the period shown on the adjoinin g poetry book society, now a'new fiction society', a page. This response was backed by the Governmen t possible scheme for grants to bookshops . More mone y with an increase in grant-in-aid years from £2 . 730 would help but the sum spent on literature was nearly million in 1963 to £17 . 138 million in 1973 . doubled last year. The Council is never likely to have sufficient funds to support every novelist and poet in the The country now has an investment in the arts of grea t country, and even if such funds were available, this extent and variety and that investment is in jeopardy fo r

19 Secretary-General's Report cowtim ed

Part II

reasons impossible to foresee when the expansion wa s It remains to make some comments on the Council' s envisaged and planned . The precariousness of tha t work in the year under review, mainly by reference t o investment must be clear from the foregoing descriptio n the Accounts and in the light of what has alread y of the Council's methods . There is a commitment t o been said. support many hundreds of trading enterprises, fragil e in their nature and especially vulnerable in a time of Geographical distribution rapid inflation . They came into being because of th e Take first the geographical distribution : the figures for intense and creative effort of artists and promotin g the previous year are given in brackets . bodies all over the country, in reliance mainly on Art s As mentioned earlier £2,179,000 (£1,425,500) went to Council support, and local authorities and private Scotland and £1,557,930 (£994,351) to Wales . In benefactors have, year by year, made increasin g England, £4,657,384 (£3,900,844) went to London an d contributions on the understanding that central £7,761,308 (£6,052,060) to the English regions includin g government help would continue . £1,416,285 (£781,590) for the Regional Arts Associa- tions. In England an additional £1,188,132 (£899,971 ) went in subsidy and other expenditure which cannot be Wages and salaries represent by far the largest part o f categorised geographically, including the Council' s the cost of an artistic operation . The Council would no t central administration costs of £682,177 (£522,134) question that increases are justifiable . In general terms , which represents under 4 per cent of the total grant-in- people working in the arts have, in remuneration ove r aid. the years, lagged behind people in other professions, and cost of living increases have hit them hard . There has , This distribution cannot be exact . £1,270,000 was spen t for example, been the effect of VAT on performin g under the Housing the Arts scheme, which is operated artists whose bills for living accommodation, meal s on a `Great Britain' basis, in grants to building project s and travelling have risen steeply . The cost of material in England, Scotland and Wales . The Government has has risen, in some cases, by more than 100 per cent in a always found it necessary to impose a limit on the year. VAT became in effect a new entertainment tax as Council's expenditure on capital projects and a revenue from seat price increases was swallowed i n commitment ration of £750,000 has meant a decreasing rising costs . An orchestra or opera company or a effectiveness in the operation. Nevertheless contribution s theatre must operate at a certain strength or not at all . were made to a number of important projects as shown in Schedules Three . A claim for extra money is not easy to justify in these difficult times. There is no doubt, however, that muc h Nor does DALTA, the Council's touring operation, fi t of this country's achievements in the arts since the wa r into the geographical division . (The name puzzles man y is now in jeopardy . That achievement is surely on an y people, but some years ago the Council took over the assessment a success story, internationally recognised formerly independent Dramatic and Lyric Theatre s and acclaimed and, incidentally, a far from negligible Association .) Touring involves the crossing o f factor in bringing tourists to this country. It could not boundaries . The amount spent in the promotion o f have happened without public money in an amoun t DALTA touring was this year £872,367 compared with which has grown rapidly but is still small compared with £494,787 in 1972/73. other types of government expenditure and small i n relation to the public served and the effect on people' s Whether the geographical distribution is fair or logica l lives. The money has up to now been sufficient, thoug h or represents the best use of money available, is anothe r only just, to enable the Council to respond to the alway s matter. The location of artistic activities is not somethin g increasing number of artistic enterprises and o f planned from Piccadilly, and the ways in which growt h audiences . This increase - the undiminished effort an d and spread have been achieved have been earlie r the expanding demand - are heartening features o f described . Certainly the figures taken as a whole show contemporary life. The present fear is that the response that the trend in recent years continues and that th e will no longer be possible. proportion of the Council's funds spent outsid e London continues to grow .

Last year's report showed a lot going on in a number of regional cities with Bristol as a special example, an d this year on pages 22 to 23 some other examples are given in tabulated form, showing the contribution o f

20 central government money through the Arts Council . performances at the Royal Opera House . Glyndebourn e too had staged von Einem's'The Visit of the Old Lady' , Distribution between the different arts and project s another British premiere, the week after the London Schedule I of the Accounts shows the broad division o f University Opera Society at the Collegiate Theatre ha d the money between the different arts and also betwee n given the first performances of the same composer' s a number of projects . Schedule II gives the figures for `The Trial'. This Society too chose a premiere for thei r general operating costs mentioned on previous page . The main performances at the Collegiate, Peter Wishart' s later Schedules list the actual grants made, although fo r `Clytemnestra' . 1974 saw the final season of Sadler's reasons of space some of these are shown in categories . Wells Opera, under its original title, at the Londo n For example, in England 'Awards to Artists' i n Coliseum - from now on they are known as the Englis h Schedule III (Music) covers more than 150 separate National Opera. The striking premiere of Penderecki's grants, and 'Awards to Artists' in Schedule III (Art ) `The Devils of Loudoun' and a new production of'Katy a covers more than 170 grants . The names of the Kabanova' in a new season based on Janacek's origina l recipients, however, are given in Table A on page A4 . manuscript, by Charles Mackerras, were highlights in a season that opened in a blaze of glory with the tw o The Council's method in allocating its money has been cycles of 'The Ring' in Andrew Porter's excellent described and discussed in Part I of this report . translation . This resulted in a rapturously received ne w Comments follow on certain aspects of the work of eac h recording of'Siegfrie d' , prelude it is hoped, to a complete of the Council's departments during the year, not mean t recording of the entire work in English . to cover all aspects, but to draw attention to matters of special or current interest, or new developments. The enterprising New Opera Company offered another first as far as Britain is concerned, Shostakovich's'The Music - (a) Opera Nose', and an Elizabeth Lutyen's double bill of 'Time As new work and outlets for creative artists are topical Off, Not a Ghost of a Chance' and'Infidelio' . Firsts als o subjects, it may be interesting to look at the opera included visits to London from Scottish Opera for a record last year in this connection, particularly becaus e week at Sadler's Wells Theatre in August with 'Pellea s many people think of opera as tied to a limited repertoir e et M61isande' and 'Tristan and Isolde' and The Roya l from the past, and, because it is 'expensive', unable t o Northern College of Music with three differen t experiment or take box office risks . It is the Council' s programmes - Stravinsky's 'The Rake's Progress' , function within its resources to enable new work to be Britten's'A Midsummer Night's Dream' and a doubl e done though many of the performances mentioned bill of Crosse's'Purgatory ' and Walton's 'The Bear' at have been possible because of welcome additional help the same theatre . from private and business sources . - (b) Dance The emphasis during the year has been on the Britis h With the ballet and dance companies continue d premieres of modern works, culminating in a final burst refreshment of the repertoire with new work is essential . of activity in March 1974 with three speciall y The year's record was quite a distinguished one . commissioned works, presented by Sadler's Wells Opera, Scottish Opera and Welsh National Opera . The Royal Ballet made its first visit to Brazil ; and then Gordon Crosse's'The Story of Vasco' was seen at th e made its debut at the Coliseum where it played for fou r London Coliseum ; Iain Hamilton's'The Catiline weeks to packed houses . Macmillan recreated his balle t Conspiracy' was first staged at the MacRobert Centre , 'The Seven Deadly Sins ' to Kurt Weill's music, and Stirling, and afterwards performed on tour at York , at the end of the year choreographed his third three-ac t Sunderland and Oxford, and Alan Hoddinott's'The ballet'Manon' which has received an enthusiasti c Beach of Falesa' was produced in Cardiff and shown o n reception from the public (but not the critics) . The New Harlech Television as well as being performed a t Group toured Britain and performed at Sadler's Well s Swansea. Theatre, bringing in several works by foreign choreographers, including Van Manen . Ballet for Al l Earlier in the year, the Royal Opera House staged made its usual extensive tours of the Regions, and Benjamin Britten's'Owen Wingrave', a work originally undertook its first ever tour abroad to Portugal . written and shown on television, and the English Oper a Group presented his'Death in Venice', not only a t London Festival Ballet continued its pattern of seasons Snape, but also at the Edinburgh Festival, in Venice in London at the Coliseum, New Victoria and Roya l itself, and at Brussels, as well as a limited number of Festival Hall (103 performances), with extensive tours

21

SecretarN-General's Report (continued )

The Pattern of Provision: Arts Council direct contributions to activities during 1973/7 4

Newcastle-upon-Tyne

MUSIC

Opera : Visiting company No. of performances Attendances £ Sadler's Wells Opera 12 12,463 Scottish Opera 9 8,285 English Opera Group 5 2,518

Total attendance : 23,266 75,000 Dance: Visiting company No. of performances Attendances London Festival Ballet 8 10,488 Royal Ballet 7 7,624 Northern Dance 7 857

Total attendance : 18,969 25,000 Orchestras : Northern Sinfonia 52,000 Concerts by visiting orchestras 2,500

DRAM A

Tyneside Theatre Trust Limited 41,400

Visiting company No. of performances Attendances Prospect Theatre Company 23 15,863 Oxford Playhouse Company 7 2,640

Total attendance: 18,503 12,500

ART

Touring exhibitio n Eleven Sculptors : One Decad e Objects and Documents Serpentine Directions Staging the Roman s Working Order 1,550

Art Film Tour - 6 showings 135

FESTIVALS

Newcastle Festival 6,000

TOTAL £216,085

In addition to the above, Northern Arts received £337,780 from the Arts Council . A proportion of this money was then directed towards support of arts activities in Newcastle .

22

Nottingham

MUSIC

Opera : Visiting company No. of performances Attendances £ Sadler's Wells Opera 6 7,804 Phoenix Opera 5 2,504 English Opera Group 5 1,923

Total attendance : 12,231 45,000 Dance: Visiting company No. of performances Attendances Ballet Rambert 14 6,367 London Contemporary Dance 6 2,188 Scottish Theatre Ballet 7 1,879

Total attendance : 10,434 14,000 Orchestras: English Sinfonia concerts in Nottingham 4,500 Concerts by visiting orchestras 3,500

DRAMA

Nottingham Theatre Trust Limited 115,75 0

Visiting company No. of performances Attendance s Prospect Theatre Company 12 7,336 69 Theatre Company 12 5,934 Actors Company 12 4,106

Total attendance: 17,376 16,50 0

ART

Midland Group Gallery 14,000

Touring exhibitio n Coalface 1900 Image Reality and Superrealit y Japanese Prints Kenneth Armitage Post Wa r Serpentine Photography 1 1 Serpentine Photography 197 3 Sir Benjamin Stone Working Order 1,600

Art Film Tour - 5 showings 125

TOTAL £214,97 5

In addition to the above, the East Midlands Arts Association received £64,000 from the Arts Council . A proportion of this money was then directed towards support of arts activities in Nottingham .

23 Secretan-General ', Report -, „„17,,i -

of the Regions (126 performances). It continued to under the creative influence of de Valois and Ashton . develop its repertoire as a repository of Twentiet h The John Cranko Scholarship Fund was immediatel y Century classics, reviving Massine's `Tricorne' an d set up to enable promising young talent in the field o f `Gaite Parisienne' and Tudor's `Echoing of Trumpets' , ballet, in its widest sense, to benefit from awards ; together with a production of Bournonville's several gala performances for the benefit of the Fun d `Conservatoire' and new works from members of the have since been given. company, including Moreland's `Prodigal Son i n Ragtime', one of the first works to take advantage o f The Pension Fund and Re-settlement Scheme for the wave of enthusiasm for Scott Joplin . It also mounted Dancers, mentioned briefly under the summary o f Ben Stevenson's `Cinderella' to the Prokofiev score . events in the 1972/73 report, came into existence o n 1 April 1973 and was followed by the appointment of a Ballet Rambert started the year in its own typically Re-settlement Officer. The fund and scheme, financed creative fashion with a season of experimental works by by the managements of the six subsidised dance company members at the Young Vic, and made its firs t companies and by the English National Opera for it s return visit to Sadler's Wells Theatre since the company's movement group, together with contributions from the transformation from classical to modern dance in 1966 , dancers to the pension fund, are now independent , where it had a popular success . New works by Louis with their own trustees . The offices are in the British Falco, Norman Morrice and Christopher Bruce were Theatre Centre . added to the repertoire, and Bruce himself received th e first Evening Standard Award for Ballet for his - (c) Orchestra s outstanding work as both performer and choreographer. More than £1,025,000 went in grants to orchestra s throughout the country . Schedule III gives the details . London Contemporary Dance Theatre paid a visit t o Their performances remain central in the musical life of South America, where it toured the continent an d this country and it is satisfactory to record that last yea r returned to perform at its home base `The Place' and a t audiences remained good and standards high thoug h the Shaw Theatre and later made its first appearance financial problems now loom large . at Sadler's Wells Theatre where a week of `Stages ' played to full houses . Fifteen weeks of regional touring - (d) Concerts and Other Activities completed the year's programme. The rest of the music expenditure covers a wide rang e of activity shown by the lists of grants under the Northern Dance Theatre consolidated its work in th e headings `Concerts' and the sum given to the Nationa l North of England as well as covering the Midlands and Federation of Music Societies covers a wide range of some southern areas . Its use of the Royal Norther n activities by 1,100 music clubs and performing societies . College of Music Theatre for regular Mancheste r seasons afforded it a greatly improved base, and th e Grants totalling over £46,000 to fourteen music festivals opening production there of `The Green Table' in Ma y helped to make possible a short but intense musical lif e 1973 closed a long unfilled gap in the British dance in many centres at a time of the year in which a repertoire . (The official opening took place on 28 June generation ago there would have been little of hig h 1973.) quality happening .

Scottish Ballet, whose name was officially changed from - (e) New music Scottish Theatre Ballet in April 1974, presented a bran d The Council's Contemporary Music Network was i n new `Nutcracker' by Peter Darrell for the full company its third year and its progress justifies some specia l in larger theatres ; divided the company in half for ful l comment. The plan behind the scheme is to repea t coverage of the smaller Scottish theatres, and develope d performances of contemporary music in centres the work of its educational unit movable workshop . throughout Britain, and in its first two years the schem e was regarded as experimental . Its success led to The saddest event of the year was the sudden death i n considerable expansion for its third year, and in 1973/7 4 June 1973 of John Cranko on a flight home from Ne w some seventy performances were given, in co-operatio n York, accompanying his ballet company from Stuttgart with Regional Arts Associations and the Scottish an d after they had just completed a very successful tour Welsh Arts Councils . Details of the tours are given i n there. The whole dance world felt the loss of this very Table I . talented British choreographer and Director, whose formative years were spent in the Royal Ballet cradle The Committee for the British Section of th e

24 International Society for Contemporary Music advise s The Arts Council's policy for drama is constantly unde r the Council on the choice of performance groups an d review, and is a development of the policy laid down a t programmes in England ; the necessarily considerable the Council's inception. That policy has always bee n subsidies are passed to individual local promotin g strongly orientated in the regional direction . In 1971 , societies through Regional Arts Associations . Obviou s with the likelihood of the Arts Council working on th e advantages, from spreading rehearsal costs over a basis of a rolling triennium, it became essential to plan number of performances, and from increasingly further ahead, and the Drama Panel began a detaile d authoritative performances, have resulted from thes e re-assessment of its policy and prepared a number o f tours, which have included some new work s papers which were discussed and revised over a serie s commissioned from British composers . Jazz groups, of meetings, in many of which Local Authorities wer e and foreign ensembles of distinction, are being included involved. The resulting policy accepted by the Counci l in the scheme . was summarised in an outline statement given to al l supported theatres in August 1973 . It is pleasing that at least five of the 1973/7 4 performances were recorded for transmission by the Broadly speaking, the aim is for all regional companie s BBC . The Council's expenditure on the scheme was eventually to reach a financial plateau which woul d £38,259 and its success has justified a substantial enable them to offer conditions of work and a service to increase in the current year . the public of the highest standard that they coul d sustain within the resources available and the needs o f Drama their catchment area . It is worth emphasising that th e The list of grants in Schedule III shows the great rang e Arts Council recognises that it is essential to creat e and variety of the Council's contribution to the theatr e situations where companies of differing aims, size an d last year. character can develop in their own way, and toward s this end the Drama Panel has begun a process of Support was given to 57 companies operating in thei r re-assessment of all supported theatres: crucial in thi s own theatres, I I in London and 46 in the Regions . . will be the attitude of the relevant new Local Authorities . There is now in this country the opportunity to se e drama, professionally performed by indigenou s Meadow Players, Oxford companies, in centres of population covering most The Council has already expressed its great regre t areas, and the standard of what is provided, though that Meadow Players decided that they could no t variable, remains generally high . The opportunities operate in the manner they wished within the subsid y given by new or substantially reconverted buildings that the Council could provide, and therefor e have improved conditions of work, as well as providin g wound up after the Christmas 1973 production . The better amenities for the larger audiences that have bee n Company, throughout its seventeen years' existence , accommodated . Studio theatres have been included i n was under the distinguished artistic direction of Fran k many of these buildings, and this, too, has increased the Hauser, and the Company made a remarkable range of programmes available . A less encouraging contribution to the theatre of this country, quite apart feature has been the growing financial difficulties of from Oxford itself. Without in any way diminishing th e these companies, in spite, by and large, of maintenanc e Arts Council's regret at the discontinuation of thi s and increase of audiences, but this problem has bee n Company, it must be remembered that the history of referred to in Part I . theatre here, as elsewhere, is of the emergence of som e companies which flourish and then for one reason o r The list of repertory companies operating in their own another disappear. Very often these have been th e buildings (to which must be added the National Theatr e creation of one man, and Meadow Players and Fran k and the Royal Shakespeare Company) is followed by a Hauser join a long line of distinguished predecessors . further list of 60 smaller-scale companies rarel y performing in conventional theatre buildings, and many of them regularly touring . A large number are based Sir James Richards Repor t outside London . They represent a remarkable growth Following a recommendation from the Drama Panel , in number, and often in quality . The grants they receive which drew the Arts Council's attention to the danger s are mostly small, and they consist of dedicated an d threatening the theatres in London, the Council invite d ill-rewarded people aiming at audiences remote from , Sir James Richards to study the threat posed t o or reluctant to visit, conventional theatres . London's artistic and cultural amenities, and

25 Secretar) -General's Report (continual )

particularly to the West End theatre, by redevelopmen t the abolition of the censorship of plays by the Lor d plans. His report, published in the autumn of 1973, i s Chamberlain, and to the Report on the Obscenity Laws . an important document which we believe is receiving An especial concern was, of course, his encouragemen t serious consideration by the Local Authorities . of new writing for the theatre and the establishment o f the Council's New Drama Scheme . Training Committee During the past twenty years, the Arts Council ha s His influence on this country's theatre, partly throug h developed a series of training schemes . The money spen t his service with the Arts Council, was profound . on these schemes is relatively small, but their value t o the professional theatre is very great indeed, as it is vita l Art to encourage a steady flow of new talent into the theatre . The Council's contribution to art during the year i s Schemes for the training of theatre administrators , summarised in Schedule I of the Accounts . designers, directors, technicians and, in a much mor e limited way, actors through drama schools, have been Some sixty galleries and exhibiting bodies were offered developed . The working groups which looked after grants and guarantees, and the list is given in Schedule 3 . these schemes were co-ordinated through a Trainin g Committee of the Drama Panel, but the Pane l Secondly, twenty-five new exhibitions were arrange d recommended, and the Arts Council agreed, that the during the year (Schedule 4 shows the cost and also th e Council's training schemes should be expanded beyon d revenue received) and the cost of operating the Haywar d the sphere of drama alone and that the Training and Serpentine Galleries is shown in Schedule 1 . Committee should become responsible directly to th e Council when it widened its sphere of operation . This The work and problems of the Council's Art Departmen t has now happened, and it is particularly unfortunat e have already been discussed in Part 1 . that at the same moment the Council's resources becam e so limited that the Training Committee is having t o Art exhibitions work on virtually a stand-still budget . Nine exhibitions were shown at the Hayward Galler y (four of which were shown elsewhere in England) , including the remarkably popular Munch exhibitio n New drama and the Cezanne exhibition . The Serpentine Gallery , Additional financial assistance has continued to b e offering an extended programme, now (thanks to centra l given to companies promoting new plays - happily b y heating) presented a wider range of exhibitions whic h now a generally accepted feature of most companies ' included one-man shows of the work of Roger Hilto n programmes. Of even greater importance, perhaps, are and William Tucker, an exhibition of Photo-Realism the bursaries and commissions available to th e and of contemporary landscape painting, as well as th e playwrights themselves, and the scheme whereby thes e exhibitions of the work of young and relatively unknow n writers have been assured of a minimum royalty paymen t artists that have been the Serpentine Gallery's stapl e of £250 for a full-length play regardless of the size o f diet . Exhibitions presented by the Arts Council at the the theatre in which it was presented . Some 242 royalt y Victoria and Albert Museum, in the Banqueting Hous e payments were made by the Arts Council in 1973!74 , and at the Whitechapel Art Gallery, included th e three playwrights received commissions and a furthe r fifteen received bursaries . Cruikshank exhibition (which toured subsequently) an d the complex account of Inigo Jones's work as designe r and impresario,'The King's Arcadia' . Benn Levy The theatre at large and the Arts Council in particula r Thirty-eight Arts Council exhibitions were shown at learned of the death of Berm Levy last December wit h regional centres throughout the country, usually a t the deepest regret, and elsewhere tribute has been paid several in succession . The most notable of these wer e to his talent as a dramatist and his great range of publi c probably the Cezanne watercolours and penci l service, not only within the theatre but also in drawings organised with the Northern Arts Associatio n Parliament . He served the Arts Council from 1946 t o and shown at Newcastle, 'Staging the Romans' (on th e 1960 as either a member of the Drama Panel or as a Royal Shakespeare Company's productions, i n member of the Arts Council itself and he was Chairma n Stratford and London, of the four Roman plays), a of the Panel for many of those years . Quite apart fro m touring show of Bridget Riley, and a fine collection o f his general concern for our affairs, he made notabl e '100 European Drawings' at Sheffield from the Museu m contributions to the abolition of Entertainment Tax, to of Modern Art in New York .

26 Photography authors . The Society aims to attract the seriou s Activities in the field of photography were substantiall y book-buyer, and its advisory panel will continuously expanded with the Council's appointment of a full-time review the field of modern novels, selecting twenty t o specialist member of staff. A new scheme for grants to thirty titles each year . Selections will cover prominen t photographers was initiated ; four exhibitions of authors, newly established authors, and the first novel s photography were toured and the year ended with a n of writers who are considered by the panel to have a n exhibition at the Hayward Gallery of the work of the important future. The Society also publishes a New York photographer Diane Arbus . quarterly magazine containing news and views on a variety of literary topics. Art film s The Council Committee of Enquiry into the future o f Provision of bookshops Arts Council support for film, which was chaired by The Council has agreed in principle to the establishmen t Richard Attenborough, submitted its repor t of a fund from which grants could be made to person s recommending expansion . The Art Film Committee's or companies planning to set up bookshops or boo k terms of reference would be expanded to include an y outlets in areas of population where inadequate or n o subject eligible for Arts Council support rather than provision at present exists. The fund might also enabl e only the visual arts, as hitherto . The Artists' Film s a service of information, advice and basic training fo r Sub-Committee also had its terms of reference expanded , such persons or representatives of such companies, to b e and as it deals with an area that is by its nature difficul t maintained at no cost, or at subsidised charges . Talks to define, it is simpler to quote them : are continuing to decide how these aims could most appropriately be realised. `To assist artists wishing to use film as an extension or development of their work and others doin g Arts Council Fellowships in Creative Writin g similar work where there is no conflict with the The Council, during this year, agreed to make fund s B.F.I .'s role as the institution grant-aided by the available to universities to enable them to establis h Government to support film as art.' Fellowships in Creative Writing . As a result, the first two Arts Council Fellows will be in residence at the Distribution Universities of Cardiff and Hull in the academic year The exposure of Arts Council films continued to 1974/75 . increase . The New Review `Mantegna : The Triumph of Caesar' ran for sixtee n The Council agreed fully to subsidise the new monthl y weeks at the Academy Cinema, and four films wer e literary magazine The New Review, edited by Ian transmitted by the B.B.C. Distribution abroad continued Hamilton who for many years had edited the quarterl y to expand, and amongst the sales to television one film , Review (a poetry magazine) . The New Review was `Art in Revolution', was sold to German, Danish and successfully launched in April 1974, and seems likely to Swedish television, and Iranian television purchase d establish itself both nationally and internationally a s twenty-seven Arts Council films . the leading British literary magazine.

Literature British poets of our time The sum of £ 146,000 spent on literature during the yea r After two years of planning and recording, thi s is a large increase on the £83,000 spent during the important series of long-playing records of distinguished previous year. Perhaps the sum should be even higher, British poets reading their own works was launched by but other obligations make this impossible at present . the Argo Record Company, with Arts Council subsidy , The Council's role in relation to literature has earlie r in the spring of 1974 . The first discs feature W . H. Auden , been discussed . It only remains here to draw attention to Norman Nicholson, C . Day Lewis, Stevie Smith an d some new developments in the year under review . others.

New Fiction Society The new Regional Department and Committee As a result of planning and,preparation during 1973/74 The Council's new Regional Department came into the New Fiction Society was launched in Septembe r being at the beginning of the year under review . Much 1974. The purpose of this book club, which will offer its thought had been given to the best means of providin g members specially selected new fiction, is to promot e an appropriate structure to reflect the Council 's the sales of good fiction and to encourage talented new increasing concern with regional development, and in

27

Sccrctar ,%- Gcncral ' ~ Ilcport ~,nn,1, (

particular, to strengthen the Council's workin g powerful argument for additional funds for this crucial relationship with the Regional Arts Associations . aspect of regional development . It was eventually agreed to include within th e 1973/74 saw the virtual completion of the network o f department's responsibilities not only support fo r independent Regional Arts Associations in England . Regional Arts Associations and arts centres, but als o The South East Arts Association came into being in the Arts Council's touring scheme, DALTA, and th e October to serve the counties of Kent, Surrey and provision of research, information and marketin g East Sussex. This followed a considerable period o f services, which would operate both for the benefit of preparation, consultation and research carried out by a the Council itself, and for the Regional Art s Steering Committee under the chairmanship of Lad y Associations. Rupert Nevill, who is the new Association's firs t Chairman . The Wates Foundation generally paid fo r A Regional Committee, with strong representatio n survey of arts activities in the Region, which was carried from the Council itself and from the Art, Drama, out by Nigel Abercrombie, who retired as the Council' s Literature and Music Panels, was set up under the Chief Regional Adviser at the end of last year . The chairmanship of Professor Roy Shaw . The Committe e Council wishes every success to the South East Arts has met regularly, a number of the meetings havin g Association and its Director, Peter Carpenter . The only been held in the regions so that members could mee t county now not served by a Regional Arts Associatio n representatives of Regional Arts Associations and se e is Buckinghamshire . The Council's staff are taking par t their work at first hand . in discussions which will, it is hoped, remedy thi s situation . Regional Arts Associations The Council's aid to Regional Arts Associations The activities, achievements and problems of the increased from £781,590 in 1972/73 to £1,416,285 . This Regional Arts Associations are manifold and various . was the second major increase in two years, and the It would be invidious to make selections for comment . Council is glad to have been able to increase its support They publish their own Annual Reports, copies of whic h in this way. It has however been a matter of are available from the Associations themselves or from considerable concern that similar increases have no t the Arts Council Shop, 28 Sackville Street, London , been forthcoming from the Local Authorities in the W. 1 . Regions . As clearly and cogently stated in `Partnershi p in Practice', the booklet produced early in the year b y Arts centres and regional project s the Standing Conference of Regional Arts Associations , During the year, the Regional Committee gav e the financial basis for the Regional Arts Associations considerable thought to the question of arts centres . has always been seen as one of an approximately equa l There are a large number of arts centres throughout the partnership between the Arts Council on the one hand , country, varying considerably in the facilities the y and local authorities and other regional sources on th e provide and the policies they pursue . Only a few of these other. The Arts Council has in recent years taken a are directly aided by the Council, and they too var y lead in the funding of Regional Arts Associations, but enormously, ranging from Great George's in Liverpool , this has led to a serious imbalance between the money with its emphasis on community arts, to arts centre s they receive from central and local sources . The Counci l such as those in Harlow and Swindon, where th e is fully aware of the financial limitations within which emphasis is on mixed programmes of professiona l local authorities have to work, and these have bee n presentations in theatre auditoria . Different criteri a exacerbated recently, but there are strong economi c need bringing to bear in the assessment of such varyin g arguments in favour of local authorities channellin g projects, and the Regional Committee set up a smal l part of their support for the arts to the Regional Arts ad hoc Arts Centres Working Group to advise it . One o f Associations. The Associations are able to supplemen t the conclusions which seems to be emerging is tha t these contributions with other income, and plan an d certain of the arts centres might more appropriately be support activities on a regional basis . dealt with as community arts activities.

The increases in the Council's support to Regional Art s The Council is co-operating in four experiments whic h Associations in 197475 have been more moderate, and have been sponsored by the Department of th e it seems unlikely that major advances in real terms will Environment, the Department of Education and Science , be possible in the coming year . However, considerably and the Scottish and Welsh offices. These two-yea r increased support from local authorities and othe r experiments have been started in four selected area s regional sources will provide the Council with a with a view to developing leisure activities across th e

28 board as part of the general programme of research into projects in Bristol, Birmingham and Sheffield . These will methods of improving the quality of life locally. The each last for two years, after which the results will be project is designed to test what can be done by a carefully studied and assessed . The Council is providing concerted drive at local level to develop a wider rang e approximately £20,000 a year for each of the schemes , of leisure activities, to stimulate interest in th e which are being carried out under the auspices of the community, and to make better use of existing facilities . Regional Arts Associations concerned . The projects are The results of the experiments will be evaluated an d intended to increase audiences for arts activities in th e conclusions published, and it is hoped that other part s three cities, to try out new methods of publicity an d of the country may benefit from what has taken place . marketing, and hopefully to attract a wider section o f The two English experiments are at Sunderland an d the community to take part in the arts . Stoke-on-Trent, the Welsh experiment is part of Clwyd County and the Scottish experiment in Wes t Research and information Dunbartonshire . Local Steering Groups have been set The purpose of the Research and Information Sectio n up and the Scottish and Welsh Arts Council, Wes t is to enable the Council to engage in a continuin g Midlands Arts and Northern Arts are closely involved programme of research, both on its own behalf and fo r in their work . the Regional Arts Associations, and to provide an information service for the growing number of people _Community arts working in arts promotion and development . Robert The Council has given considerable thought to the Hutchinson was appointed Senior Research an d whole subject of community arts. In November th e Information Officer . Given that local governmen t Council set up a Community Arts Working Party unde r reorganisation was imminent when this section of th e the chairmanship of Professor Harold Baldry to consider Regional Department was established, it was decided the future role of the Council in relation to communit y that the first major investigation should be int o arts activities in Great Britain, and to examine i n expenditure on the arts by the existing loca l particular the extent to which the Arts Council shoul d authorities . Detailed questionnaires were sent to al l be directly involved in the subsidising of communit y local authorities in England and Wales . The response arts work ; also to consider the relationship betwee n was fairly encouraging, considering that loca l experimental work and community arts projects , government staff were busier than ever preparing fo r whether a distinction needs to be drawn between thes e reorganisation. It is intended to publish the results of two fields of activity, or whether they could b e this survey shortly . It is also hoped to carry out a considered together when assessing applications an d similar survey with the new local authorities in du e needs. The Working Party moved with remarkabl e course, and there may be interesting comparisons to b e speed and diligence, and was able to present its repor t made between the involvement in the arts of the ne w and recommendations to the Council in June of thi s local authorities as compared with their predecessors . year. The Council has accepted the report in principle , and it is being published separately. Its broad A bi-monthly Information Bulletin is also now being conclusions and recommendations are accepted by the produced for distribution to Regional Art s Council, but the extent to which the Council will be abl e Associations, and also to certain other companies an d to respond to the report's specific recommendations , organisations engaged in sponsoring the arts, includin g particularly in so far as extra finance would be involved , the new local authorities . will depend on the Council's grant-in-aid for 1975/76 . DALTA - touring Marketing 1973/74 was the fourth year of operation of the The marketing services and advice now available to th e Council's Theatre Touring Programme arrange d Council for its theatre touring scheme, and also for it s through DALTA . The tableon page 30gives asummary o f art exhibition programme in London and the regions , the touring weeks presented and arranged during these has been enhanced greatly by the establishment of th e four years ; the Council was able in 1973/74 to maintain Marketing Unit within the Regional Departmen t the increased level of expenditure on touring which ha s towards the end of the financial year . Peter Verwey was been a feature of the Touring Programme since its appointed Senior Marketing Officer, and he and his staff inception (£495,000 in 1972/73 and £872,000 in 1973/74) . not only provide services to the Council itself as already It will be seen from this table that with minor variations mentioned, but are also available to assist and advis e there has been a consistent improvement in the total the Regional Arts Associations . In this connection number of weeks played by the companies, althoug h mention should be made of three special marketing through the effects of steadily increasing costs it

29

Secretary-General's Report ((owinucd )

DALTA Touring Activity 1970/71-1973/74

1970/71 1971/72 1972/73 1973/74 Total Arts Council subsidies offered for touring through DALTA £190,914 034,207 £478,869 £802,29 2 Number of companies (large-scale and medium-scale) supported (a) lyric 8 10 12 1 2 (b) drama 6 9 9 6 14 19 21 1 8

Number of towns visite d 26 31 36 3 8

Total number of weeks touring (approx ) (a) opera and ballet 77 106 129 135 (b) drama 85 82 88 96 Total number of performances (all) 532 1,124 952 1,020 Paid attendances at DALTA performances 354,422 760,592 737,804 802,336

becomes annually more expensive to promote eac h Five Stopover seasons were held in major regional week. centres, and a new scheme - Regional Touring Circuits - was inaugurated in conjunction with the Regional Art s In the autumn of 1973 it became clear for the first time Associations. In addition to the already large number o f that with the amount of weeks arranged, nineteen companies visiting arts centres, studio theatres, colleges companies playing in twenty-six theatres for over eighty and community centres thoughout the country, thre e weeks, there was in some quarters a danger of saturatio n new companies were formed and subsidised throug h point being reached . Every effort is now being made t o DALTA - Joint Stock, V Theatre and Temba . Thirty find a more equal spread, both in geographical terms , companies took part in Stopovers and the Regiona l and in seeing that not too many productions wer e Touring Circuit Scheme, and London based theatres, concentrated in one area in too short a time . The Counci l such as the Theatre Upstairs and the Bush, were enable d is well aware that dissatisfaction is felt in some areas to tour. which, it is suggested, are visited by too few companies ; it must, however, be realised that the Council does no t Much attention has also been paid to the question o f normally directly interfere in the work of th e conditions for performers in touring theatres . Money independent companies it subsidises . The plain fact i s through the Housing the Arts Fund and from special that there are not enough companies available no w regional funds has been found to encourag e to cover all the centres where demand exists, an d improvements in the Theatre Royal, Newcastle, where a that while this situation continues the companies wil l major renovation of the auditorium and the installatio n generally choose to play in those theatres where th e of an orchestra pit has undertaken by the City Council . greatest number of people will see their productions . General improvements have also been made at theatre s in Wolverhampton, Bradford and Norwich . Perhaps Concern is also sometimes expressed that regiona l the most dramatic achievement was the installation o f centres are not offered the productions they would like , new lighting and an orchestra pit in the Hippodrome , or that visits occur at less than ideal times . It is a fact of Birmingham, a building owned by Moss Empires Ltd ., life that the availability of both artists and repertoire i s in time for the highly successful Sadler's Wells Rin g conditioned, in the case of the national companie s Cycle. Throughout the year the publicity and marketin g especially, by the planning of their'home' programme s effort which supports DALTA promotions was under for several years ahead . Nor can productions readil y constant scrutiny, and the companies now benefit fro m be made available at any season of the year to sui t the advice available from the Council's Marketing Unit . DALTA's ideal programming . Thus while every effor t By this time next year it will be possible to begin to is made to meet local needs, work in the regional assess the value of certain developments instituted i n centres can only be planned in the context of the overal l 1973.74, particularly the establishment of regiona l programme of each company. marketing officers and consolidated regional mailin g lists, and extensive audience research surveys in severa l Small-scale touring continued to expand in 1973/74 . centres.

30

HOUSING THE ARTS

A total of £1,270,000 was spent under the Housing the Arts scheme, which is operated on a Great Britain basis . This sum included £620,000 out of a special allocation of £675,000 made available over two years to enable the Council t o aid projects in the Government Assisted Areas. Twenty-two different schemes, mostly in areas that are comparativel y less well provided, particularly in Scotland and Wales, benefited from this once-and-for-all aid . The funds were allocated as follows :

England Altrincham Garrick Playhouse 3,000 Bradford : Alhambra Theatre 17,000 Harrogate : White Rose Theatre 5,000 Kendal : Brewery Arts Centre 6,000 Manchester : NWAA Centre 3,000 Peterloo Gallery 1,250 Newcastle : Theatre Royal 20,000 Oldham : Grange Arts Centre 30,000 Coliseum Theatre 27,500 Rosehill Theatre 3,000 Saddleworth : Millgate Centre 750 Southport Arts Centre 25,000 Sunderland : Ceolfrith Arts Centre 5,000 Torrington Drill Hall 12,000 158,500

Scotland Dalkeith Arts Centre 3,000 Inverness : Eden Court Centre 160,000 Kilmarnock : Royal Palace Theatre 6,000 Kirkcaldy : Adam Smith Hall 12,000 Renfrew : St. Mary's School Theatre 1,500 182,500

Wales Mold : County Arts Centre 290,00 0 Nantymoel : Berwyn Centre 14,00 0 Swansea : Glyn Vivian Gallery 30,000 334,000 £675,000

The Government has always felt it necessary to impos e frequently double the amount anticipated . a strict annual limit on the Council's expenditure o n capital projects. That an annual commitment ration o f The most significant developments were on the musi c £750,000 is inadequate scarcely needs emphasis bearin g side and included the decision to go ahead with the in mind current building costs, and there has been a Poole Centre for the Arts . This will include a 1,500-seat resulting decrease in the effectiveness of the operation . concert hall, a theatre, and office and rehearsa l facilities for the Western Orchestral Society . Two of th e Particularly affected are the privately promoted scheme s London orchestras, the LPO and the LSO, are also which rely upon substantial support from a publi c acquiring rehearsal facilities and a recording studio appeal . Over the last year, building costs have rise n with the conversion of the redundant Holy Trinit y faster than money could be raised and none of the Church in Southwark . A very useful start has also been repertory theatre schemes originally due to star t made on improvements, including orchestra pits, in a building during the year were able to commence work . number of the large provincial theatres used by th e Those schemes that did manage to start were mainl y major touring companies . However, much more mone y local authority sponsored and tender prices were will be needed if the sort of substantial backstage

3 1 1,ccretarN J,cricr :iI', 12cport , , ,,tin ;- i

improvements are to be undertaken that would enabl e the London based companies to show their production s to full advantage .

Arts Festivals The nineteen Arts Festivals receiving Council grant s are shown in Schedule Ill . These are, of course, i n addition to the solely music festivals mentioned earlie r and listed in the music section of Schedule 111 . The main point to be made this year is that with fe w exceptions these festivals are extraordinarily successfu l in the size of public they attract and in the quality o f their programmes . Financially many receive stron g local and local authority support but the fact that the Arts Council's contribution can be held at the fairly reasonable figures shown in the schedule is a n indication of the amount the public themselves ar e willing to pay for these annual events, many of whic h are held in exceptionally attractive settings.

The Arts Council Shop In June 1973 the Council took the very important step o f opening a shop at 28 Sackville Street, a few yards from Piccadilly Circus . In a most attractive setting, designe d by Pentagram, the shop displays and sells Arts Counci l publications including exhibition catalogues, posters , gramophone records, material produced by Council- susidised organisations and books on the arts wit h which the Council is concerned . Gradually the shop ha s become a venue for people interested in the arts fro m all over the country and the material sold and displayed covers activities outside London . There have been small- scale musical performances and poetry readings and distinguished artists, composers and writers have visited the shop to meet customers and talk informally to them .

Conclusion These comments on what the Council has done durin g the year could be continued. Examination of the Accounts and Schedules will show a good deal more . Whether more could have been done with the money available, whether the emphases have been wrong, mus t be for the public, and particularly for those activel y concerned in the arts, to judge . The Council is acutely aware of the many problems im olved in the fulfilmen t of its task, particularly in a time of mounting inflation . That is why its policy and working methods have bee n so fully described in the first part of this Report .

32

Membership of Council and Staf f

Council widest interest in the Department's activities, carryin g The following retired from the Council on 31s t the overall responsibility for Opera for All for som e December 1973 : Professor Cedric Thorpe Davie, years, acting as a member of the Joint Allocatio n OBE, LLD ; Professor T. A. Dunn; The Lord Snow, Committee with the National Federation of Musi c CBE. Professor Denis Matthews was obliged Societies, and producing and supervising man y by the pressure of other work to submit his resignation . pamphlets and lists for the Council, including `The Arts We extend our thanks to the retiring members and ar e Council of Great Britain : What it is and What it does' . glad that Professor Dunn will continue to be associate d He was appointed Assistant Music Director in 1971 . with our work as a member of the Scottish Arts Council . Honours We offer our congratulations to the following on who m The Minister appointed the following new members o f Honours have been conferred in the year 1974 : the Council : Mr. Jeremy Hutchinson, QC ; New Year Honours Mr. James Morris; Mr. Neil Paterson . Miss Constance Cummings, formerly a member of th e Council and of the Drama Panel (CBE ) Committee s Mr. Stuart Burge, formerly a Drama Panel member an d Art Film Committee . Following consideration of a currently serving on the Theatre Directors' Workin g Report submitted by the Films Committee of Enquiry , Group (CBE ) the Council decided to widen the brief of its Art Fil m Birthday Honours Committee ; and Lady Casson succeeded Mr . Alan Dr. Alex J. Gordon, OBE, FRIBA, until lately Vice - Bowness as Chairman of the reconstituted Committe e Chairman of the Welsh Arts Council (CBE) with effect from 1st April 1974 . Wynford Vaughan-Thomas, member of Welsh Arts Training Committee. The Council also agreed, in th e Council (OBE) course of the year under review, to reconstitute th e Mr. N. V. Linklater, OBE, Drama Director, Arts Training Committee, which had hitherto been a sub - Council of Great Britain (CBE ) committee of the Drama Panel, as a Committee of th e Mr. Roy Bohana, Assistant Director, Music, Wels h Council, and Professor Roy Shaw was appointe d Arts Council (MBE) Chairman as from l st January 1974 . Obituarie s Staff We record with deep regret the deaths of two former Following the announcement in the last Annual Repor t Council members and two former members of the staff. that a Director for Regional Development had bee n appointed, the following senior appointments have Mr. Ivor Brown, CBE, FRSL, whose death was reporte d now been made in the Regional Department : in April 1974, served on the Council of CEMA an d Mr. Christopher Cooper : Assistant Regional Directo r was one of the founder members of the Arts Counci l Mr. Robert Hutchison : Senior Research and at the time it received its Royal Charter in 1946 . Informa. on_Officer Mr.- Berm Levy, MBE, who died in December 1973, Mr. Jack Phipps : Controller of Touring served the Council from 1946 to 1960, at first as a Mr. Peter Verwey : Senior Marketing Office r member of the Drama Panel and later as a member o f Mr. John Haskins was appointed Chief Administratio n the Council, and was Chairman of the Panel for muc h Officer in succession to Mr. G. M . Harrison whose of that period . In the case of both, their contribution services have been retained on a part-time basis a s to the theatre and to literature ranged far beyond th e Pensions Consultant. invaluable assistance they gave to the Arts Council .

The Council agreed in September 1973 to introduce a Mr. Philip James, CBE, who died in April 1974, joined policy of retiring all members of staff at the age of 65 , the staff of CEMA in 1941 and became Director of Ar t and among those leaving under this provision at the in the following year, a position which he held with grea t end of March 1974, several of whom had given man y distinction until 1958 . Mr. Cyril Wood, OBE, the new s years of service, was Mr . H . R. Robinson, th e of whose death was also received in April 1974, serve d Assistant Music Director. Mr. Robinson, who had as Director of the Council's Regional Office in Bristol been a member of staff for more than twenty-six years , for a period of more than fourteen years until the closur e served at first as an Assistant Regional Director in the of the office in 1956, and was subsequently the firs t North of England, joining the Music Department i n Director of the South Western Arts Association . 1956 when the Regional Office closed . He took the

33

Scotland

Introductio n improved quality of life . Now they will probably have The arts in Scotland are facing the most seriou s to get used to a deterioration . The assumptions on economic crisis in their history . Inflation was unpleasan t which policy has been based for the last twenty-fiv e when it was only 5 per cent, or even 10 per cent, but it years are apparently for the time being no longer valid . was manageable because successive governments wer e If there is no increase in real terms, new projects ca n usually able to give larger increases to the arts . This only be started at the expense of existing ones . Who is meant there was some extra money in real terms t o to say, and on what criteria, when an organisation has allow for some growth or expansion. ceased to justify its public subsidy ?

But inflation at 20 per cent or more is much more Whether all this is too alarmist or not alarmist enoug h serious. Put very simply, the arts are labour-intensive is really beside the point . The point is that the arts are and therefore vulnerable to wage claims ; within limit s in for a very difficult time and the sooner we get wise t o it is impossible to increase the productivity of liv e it-and make others wise to it-the better. performance ; and the evidence of large performin g groups is that the gap between total expenditure an d This will not be the first time that those who care for the earned income is continually widening . Because of the arts will have to reach for their advocacy . CEMA was economic structure of live performance, this gap is conceived and took its first steps in the War ; the Arts widening not just at the rate of inflation (which woul d Council was born and brought up in Austerity. This mean it was static in real terms) but at a rat e time the constituency is bigger, and it ought to be better substantially in excess of the cost of living index . prepared to argue the case for the arts, in Parliamen t and local councils, in the boardroom and on th e With inflation of 20 per cent a year, this means tha t shopfloor. subsidies might have to be increased by 30 per cent t o 40 per cent a year merely to sustain artistic activity i n Back in April 1973, the picture was still relatively real terms at present levels . If they are not, then there bright and the prospect for the arts promised well . must be a cutback in quantity and quality . This can Indeed it is clear with hindsight that the economi c only reduce the service to the public . And since the art s problems which now generate such gloomy forecasts, are labour-intensive, a cutback in money also mean s became only gradually apparent in the autumn of 197 3 unemployment . or in roughly the middle of the financial year under review. No reasonable person would wish to argue that the arts are so special, so vital to the community, that they The sudden rise in world oil prices prompted cleare r should be totally exempt from the normal pressures o f recognition of our present economic problems . It would life and economics. Yet unless their special economic be just if oil from the North Sea was the means of thei r nature is understood and reflected in substantiall y solution, especially in Scotland . increased grants by government and local government, the real progress made in the provision of the arts fo r Finance the public in the last decade will not only be halted bu t In 1973/74 the Scottish Arts Council received £1,905,00 0 eroded altogether . After a year or two, the very fabric for revenue purposes compared with the previous year' s of the professional arts as we know them today may b e £1,400,000 . This sum included £62,000 Regiona l irrevocably altered if not destroyed . Development Money and £50,000 for the specia l `Quality of Life' project in West Dunbartonshire. Its At first sight, inflation is simply an economic problem . slice of the Britsh cake was I 1 - 6 per cent . In addition, it It will first become difficult to contemplate expansio n received £274,000 for Housing the Arts . without compensating retrenchment . It will be increasingly difficult to offer improved conditions o f During the year the Council spent £2,210,000 as follows : employment. Then it will become increasingly difficul t 0 for organisations to make both ends meet . Finally i t Music 288,500 15 will inevitably mean a reduced service to the public an d Opera 323,000 17 unemployment of skilled performers . Ballet 188,500 10 Drama 428,500 22 But equally inflation is a psychological problem . It is Art and Film 207,000 1 1 bound to create uncertainty and unsettlement . Peopl e Literature 53,500 3 have got used to growth, a better standard of living, an Festivals 123,000 6

35

Scotland I (Onlinrrcd )

Arts Centres, Clubs and Projects 92,000 4 specially organised concerts, ticket discount schemes, Stage I Touring 16,500 1 etc, as by personal persuasion and participation . Operating Costs 142,000 7 Although the general tenor of the report was clear, it i s Capital (including purchase price less easy for the Council to implement it withou t of Sauchiehall Street premises , involving many other agencies, and the Council i s Glasgow) 73,500 4 currently examining the most effective ways of doin g this. £ 1,936,000 100 Housing the Arts 274,000 Though outside the year under review, the Council als o initiated a research project on publishing and £2,210,000 bookselling, and set up a Regional Development Enquiry which should bring the Council and loca l It will be seen that it spent 64 per cent of its total on th e government into a closer working relationship . performing arts - music, opera, ballet and drama ; and if Festivals, Arts Centres and Clubs, and Stage I Touring Music are included, the performing arts absorbed 75 per cent Scottish Opera of its budget . In a very active year Scottish Opera gave its firs t London season at Sadlers' Wells Theatre, toure d During the year the Council received over 550 Germany, and launched a scheme to take fully stage d applications and gave some 400 grants . A total of and orchestrally accompanied operas to towns not able £61,000 was given to individual artists . Many more, to accommodate full-scale productions . For the firs t especially musicians, singers, dancers, and actors, were time, the Opera for Schools company gave performance s helped trrough the Council's grants to orchestras , of a specially created work for young children in the opera and ballet companies, theatres, and arts centres . theatres where the main Company was playing on it s Autumn tour . Policy Besides finance, one of the Council's main functions i s Scottish Ballet policy-making . During the year three major reports Important undertakings by Scottish Theatre Balle t were completed, and more recently two further studies (now re-named The Scottish Ballet) included the were initiated . mounting of a full-length reproduction of The Nutcracker which played to very good houses in The Council's Working Party on Ballet and Danc e Edinburgh throughout the Christmas and New Year examined the need for and provision of ballet and dance season, a greatly extended tour (ten weeks) by the in Scotland, including the future of Scottish Theatre specially engaged Movable Workshop group, and th e Ballet . The Council accepted, subject to some minor acceptance of an invitation for the main Company t o reservations, the Working Party's recommendations fo r tour Australia with Dame Margot Fonteyn and Ivan a limited development of Scottish Theatre Ballet and a n Nagy as guest artists . This was the Company's first increase in the number of visits to Scotland by other major overseas tour. companies . Scottish National Orchestra A sub-committee of the Music Committee reviewe d The Scottish National Orchestra, in addition to its developments in the use and provision of orchestra l usual commitments, performed at the Edinburg h resources in Scotland since 1970. The Council accepted Festival and at the London Proms, toured Holland , its main recommendations including the need for more and appeared in Brussels as part of Europalia . Man y concerts in outlying places and the development o f distinguished guest artists appeared with the orchestr a Scottish Baroque Ensemble for public concerts as well including Dietrich Fischer-Dieskau who made hi s as more work for Scottish Opera ; and approved i n British debut as a conductor . .V1usica Nora - the SNO's principle a number of other proposals including th e biennial forum devoted to the rehearsal an d need for an independent concert-promoting agency . performance of new works by eminent contemporar y composers - also took place in the autumn of 1973 . A special report on the ways in which the Counci l might assist more young people to enjoy the art s Scottish Baroque Ensemble unexpectedly but realistically concluded that the The Scottish Baroque Ensemble, an unconducte d majority of young people are not so much influenced by group of musicians directed by Leonard Friedman ,

36 specialising in baroque and contemporary music ; the performances of works from the better known concer t Scottish Chamber Orchestra, specialising in classica l and opera repertoire, new territories of music were and contemporary music ; and the Scottish explored by Heinz Holliger, the Swiss composer-obois t Philharmonia, concentrating principally on pit work, al l and his ensemble, and other groups specialising i n come under the banner of the Scottish Baroqu e contemporary music included Les Percussions de Ensemble Ltd. The Scottish Chamber Orchestra and the Strasbourg and the Schola Cantorum from Stuttgart . Scottish Philharmonia both came into existence in th e season 1973/74 . Both played for performances of 1973 saw the demise of Clyde Fair International . The Scottish Opera, and the Scottish Chamber Orchestra organisation was wound up in a state of bankruptcy gave its first series of concerts in Glasgow and after being unable to meet its liabilities at the close o f Edinburgh. The 1974/75 season is likely to see an the 1973 Fair . increase in the activities of each of these three orchestras. Drama The Council's main concern with the theatre i n Other Concert and Opera activities Scotland is helping half a dozen repertory theatre s It is not possible in this Report to give details of th e provide a varied service of drama to the citizens of si x activities of the other 120 music promotin g towns. But it is also concerned with a variety o f organisations which sponsor performances throughou t problems and projects, ranging in size from the Scotland and which apply to the Council for financial purchase of Aberdeen's No 1 Touring Theatre t o assistance. They promote almost every kind of music equipment for the two-man theatre in Mull ; in type from amateur opera (Tayside Opera) to Duke Ellington from pantomime via classical to experimental ; in and his Orchestra (Platform, Edinburgh) and Morto n nature from the human to the financial. In a quickly Feldman (Contemporary Music Network). They changing situation, there is no room for complacency . include organisations which promote performances b y But the fact that the Scottish theatre survived a new ta x themselves, eg the John Currie Singers and those on earnings, increased inflation, strikes and blackouts , which act as middlemen and pass on subsidy to a a general election, and uncertainty over loca l number of other organisations . For example the government reorganisation means it has a National Federation of Music Societies receives a commendable strength and resilience . A visitor fro m block subsidy from the Council and allocates it to a Mars might feel there was enough drama in life large number of amateur choral and orchestra l without going to the theatre to see it . Indeed many in the societies who apply to it for assistance with the cost o f profession must at times have felt that art was bein g engaging professional musicians . upstaged by life.

Council Schemes Some impressions are clear. First, more people are The Council itself operates a number of schemes going to the subsidised theatre . In nearly all the including Awards to Artists, Bursaries, Commissions, a regional theatres, attendances per performanc e Part-Copying scheme for the preparation of performin g increased. This may be because there is more emphasi s material, and schemes designed to assist with th e on the consumer and on selling theatre, but it i s purchase of first quality concert pianos and organs . doubtful if there is one simple cause. Financial assistance is also given to organisations for special activities and projects : the Scottish Music Secondly, these theatres share three similarities - a Archive (for the documentation and study of Scottis h continuing interest in new plays by Scottish writer s music) ; St Mary's Junior Music School (school o f which enjoy increased support from audiences ; selling music for gifted children) ; and the Electronic Musi c the unusual or the difficult eg Cabaret at Perth, Arthur Studio at present under construction at the Miller in Dundee, Black Comedy at St Andrews ; and University of Glasgow . It is intended that this Studio , the ability of the classics to be revived or re-interpreted when completed in 1975, should provide extensive an d and still succeed. (Examples Taming of the Shrew at the up-to-date electronic music facilities of the highes t Citizens' and at Perth, and The Busybody at Pitlochry.) international standards both for students and for professional composers working in Scotland. Thirdly, the continuing creative tension about buildings. Everyone wishes to see improved the conditions unde r Festivals which skilled people are obliged to work . Yet the The 1973 Edinburgh Festival again made a rich escalation of building costs not only means tha t contribution to the musical life of Scotland . As well as purpose-built theatres are very expensive (so incidentall y

37 Scotland (contiuued )

are swimming baths, sports stadia and sewage works) , W. Gordon Smith's Jock . It ended with the promise o f but once built, the size and nature of the building ma y another beginning : this time for the Young Lyceum dictate or dominate the artistic policy ofthe user, the Company in The Fantasticks, their first-ever Scottish managerial skills and financial means needed properl y Arts Council tour . to use it, and the artistic expectations of the audience. Some want the perfect building at all costs and risk the In between, a complicated pattern was woven across strain this may impose on management and finance. Scotland of opera and marionettes, ballet and voca l Others, with more resource and less resources, can mak e ensembles, chamber music, orchestras and solo magic in the village hall, miners' club, or street. The pianists. Council has supported both approaches, and man y variations in between . In 1973/74, for the first time, the Scottish Arts Counci l extended its scheme of co-ordinated tours to Scottish - It is probably rash to generalize . Some of the older based ensembles . It did this, not only to enable clubs t o established companies are developing identities outsid e have performances at reduced fees, but also so tha t their own buildings . For example, the Edinburg h Scottish artists might have the benefit of an increased Lyceum toured The Miser and Benny Lynch extensivel y number of engagements within a precise period . With while the Dundee Rep sent its TRYP company to play the larger touring companies, too, the balance between whenever a booking could be got. The 7 :84 Theatre imported and home-grown was carefully held, so tha t Company continued to blaze the trail in the Highland s whilst there was a string quartet from Romania, an and Islands, and even went `legitimate' in severa l orchestra from Northern Ireland and an English balle t Lowland theatres and on BBC Television . The Poo l company, there were also tours by the Scottish Lunch Hour Theatre capitalised its success with The Baroque Ensemble, (Scottish) Opera for All an d Sash which toured widely in theatres big and small . Scottish Theatre Ballet . Finally, Scottish Theatre had some impact abroad . The Art Glasgow Citizens' went east to Belgrade and Shiraz wit h In the performing arts - music, opera, ballet and dram a Old Times and Twelfth Night, and later to Hamburg - great resources, human as well as financial, are with Taming of the Shrew. Traverse Theatre productions needed to interpret and project art live to an audience . were seen in Holland, Hampstead, and Belfast. And the In the visual arts, the creator can communicate directl y Lyceum's The Bevellers was presented in London . with his public . The Council's objective is two-fold : to Stage 1 Tourin g help the public to appreciate art and to help the artis t to be appreciated . One ofthe Council's exceptional functions is to hel p plan, co-ordinate, subsidise, and publicise visits b y major opera, ballet and drama companies to the main Whereas in other art forms, the Council does not ru n cities of Scotland . It does this in conjunction with th e orchestras or theatres but helps others to do so , local authorities concerned, who own the theatres an d exceptionally in art it does run art galleries and mounts help finance these visits . and tours exhibitions . But it also helps others to do so . One of the Council's duties is to keep under review the In addition to the regular tours by Scottish Opera an d balance between its own direct promotion and th e Scottish Ballet, a number of English companie s patronage of others. visited Scotland in 1973/74 . Both the New Shakespeare Company and London Contemporary Dance made The year saw a marked increase in activity, and more their first appearance in Scotland while the Balle t interest and comment in the Press . The Counci l Rambert made a welcome return visit after several years . showed more exhibitions in more places (see Table H). In response to increased demand, the Council also Although the Council pursues a policy of presentin g gave more grants to more organisations in a larger major British companies in Scottish theatres, it i s area : £46,000 to thirty-three bodies throughout becoming increasingly difficult to find sufficient produc t Scotland compared with £20,000 to eighteen bodie s ofquality to provide adequate consolidated seasons. mainly in central Scotland three years ago .

Tours A'ew Schemes The season of 198 performances began with a n New schemes attracted much attention. The experiment : a summer tour of Russell Hunter in redevelopment of Glasgow and the construction of a

38 ring-road have exposed many bare gable-ends . The idea his development of the Edinburgh Tapestry Company of decorating city buildings with large murals may hav e (Dovecot Studios), his establishing the first Tapestr y originated in New York, but it met an enthusiasti c Weaving Department in Britain at Edinburgh Colleg e response from artists in Glasgow who produced a wid e of Art, and his contribution to the education of a new range of designs. The Council hopes that some of these generation of weavers which has made Edinburgh the will be realised soon, brightening the environment an d tapestry centre of the United Kingdom . Other award s bringing art into the everyday life of thousands of were given as project grants to twenty-five artists out o f people. the 123 who applied (see Table A) .

Artists' Register Exhibitions The Council can now offer potential purchasers , The Council 's exhibitions policy is to try to arrange a commissioners, exhibition-makers, scholars, art s balanced programme of exhibitions that can be show n administrators, and the public, a service of information in various museums and galleries throughout Scotland . about contemporary Scottish artists . Any artist resident Inevitably this means that its own gallery in Edinburgh in Scotland can apply, and for each artist there is a cannot afford to specialise and appears at times to be a folder containing catalogues, biography, photographs , cultural chameleon . Holding a balance betwee n colour slides of work, etc . Several interviews wit h traditional and modern, painting and sculpture , artists have been videotaped . In this way the Council drawings and prints, popular and esoteric, is a difficul t hopes to help promote the work of artists working i n if not impossible task. If the Council tried to satisfy in Scotland. everyone all the time, it would serve no one . In fact the two exhibitions which drew most response from th e Public Sculpture Commissions public were Tiger Tim & Co (comic cuts at Christmas ) Does public sculpture cause controversy because it i s and Open Circuit, an unusual and ambitious attempt to big and expensive, or because it is public? Roger explore simultaneously aspects of video, film, and artist - Dainton's neon light tower on a roundabout in central spectator involvement and to allow two photographer s Edinburgh, which the Council helped Edinburg h to display their daily record of the Edinburgh Festival. Corporation to commission, was attacked and defende d A full list of exhibitions is given in Table H . before it was completed . Because of the power strike, its `switch-on' was delayed. This made it even more Exhibition Space difficult to explain that the sculpture was kinetic - One of the Council's main priorities - to have a larg e coloured neon tubes activated by the force and directio n anonymous space for temporary exhibitions - is abou t of the wind - and there to be enjoyed . Gerald Laing' s to be realised . The lease of Rankins Old Fruit Market a t Steel-Henge for the University of Strathclyde, again a 29 Market Street, Edinburgh, has been taken from joint venture, and George Rickey's wind-activated Edinburgh Corporation . Upstairs the 57 Gallery an d metal sculpture at Glasgow University, complete a tri o the Printmakers Workshop will be housed . On th e of unmistakably twentieth century works which th e ground floor the space, designed to retain its former Council has helped to erect . Two open-air.works were character, will be used for large temporary exhibitions . bought to be lent for exhibition in public places . The Council will probably mount only three or fou r exhibitions a year of its own there; for the rest of th e Awards to Artists time the space will be used by other bodies. The As promised last year, the scheme for awards to artist s Glasgow Arts Centre's new premises, when open, wil l has been reviewed and changed . There are to be two also provide a large space for temporary exhibitions , distinct kinds of awards. First, a substantial sum for a which will usefully match that at the Fruit Market . person who has made a major contribution to art in . Scotland. Secondly, financial assistance to thos e A new Arts Centre for Glasgo w artists who apply for it for help with specific projects : Again with the aim of making the arts more accessibl e for example, to buy materials, to produce sculpture , to more people in Glasgow, the Council's new art s paintings or prints, to construct or paint a mural, t o centre in Sauchiehall Street is due to open early experiment with new materials or new techniques, t o in 1975. make photographic studies, to travel, or to buy time to work. A great deal of time and effort has been spent i n planning the new premises, so that they are sensibly Archie Brennan, artist, tapestry weaver, and teache r laid out and adequately equipped for the variou s was given the Council's major award for his own work, functions it proposes to undertake, yet flexible enough

39 Scotland (continued )

not to dictate future policy. Difficulties with acoustics by the Council, appointed a salesman, and magazin e and dry rot, as well as with building and fire regulations , publishers are already benefiting from increased sales . have now been overcome, though a question-mark stil l It is now possible to see these magazines on sale and hangs over the future of the Greek Thomson building selling in most of the larger Scottish bookshops . The which forms the frontage on to Sauchiehall Street. Council's direct help, though often modest, enable s several literary magazines to survive and provide s During the inevitable ups and downs of planning th e writers with a variety of outlets for their work . The new building, Tom McGrath and the Council' s Council accepted with regret the decision of Scottish Glasgow Committee have used its old premises at Internationalto cease publication owing to financia l 5 Blythswood Square as an office, information point difficulties. for the arts, and as a venue for small-scale events ranging from art films and video to poetry readings and The Writer and the Public chamber music. Since it has not been possible to use i t The National Book League were given £1,000 to for exhibitions, it should be emphasised that the ne w organise four writers' tours . This will enable audience s premises will have a basic orientation towards th e in the remoter parts of Scotland to meet living visual arts and will contain a bigger and better art authors . A dozen other organisations or people all ove r gallery than the old. Scotland were helped to give public poetry readings .

Literature Direct help to Writers The Council's work in literature should be seen in it s Besides the writers in residence schemes, fifteen national context. Government and local governmen t bursaries, nine Book Awards and three travel grant s spend many millions making books available t o were awarded to twenty-six writers, and the publication borrowers through the public library system, and th e of fourteen books were grant-aided under the Grants t o amount spent on reading, writing and the study o f Publishers scheme . For details see Table A. literature. in the educational system cannot be calculated. The Council's role is complementary : to The Council instituted an annual award called'Th e help the writer to be published and bring writer an d Munro' to recognise achievement in Scottis h reader in closer contact with each other. The mos t journalism. The first winner was Jack House . important new features of the year's work reflected thi s concern. Film The Council continued its policy of commissionin g Writers in Residenc e films, or helping to subsidise the making of films, abou t Two writers were established in residence in a the arts or artists. In 1973/74, these included films abou t community, Archie Hind in Aberdeen and Catriona Sorley MacLean, Heinrich B611, John Maxwell Geddes, Montgomery at Ostaig in Skye, and will be involved in and Tadeusz Kantor and his Cricot 2 Theatre. The schools, and teacher centres . Edinburgh are breakin g Council gave a major grant to a new film about Rober t fresh ground by co-operating with the Council i n Adam as a contribution to European Architectural establishing a writer-in-residence in their educatio n Heritage Year. authority, thus integrating the writer in the educative process. Regional Developmen t The Council was fortunate to receive extra money t o Education help developments on the ground especially away fro m Under the Council's Writers in Schools Scheme, 3 0 the main centres . This was of two kinds . £62,500 wa s writers made 126 visits to schools in twenty-fou r available for general purposes, and the Council wa s education authorities in Scotland . Jim White and able to assist a number of special projects including Molly LaBerge who have pioneered a similar scheme in purchase grants for pianos, an electronic music studio , Minneapolis, visited schools in three cities, Ayrshir e a tour by the 7 :84 Theatre Company, a writer-in- and Skye, and exchanged ideas and experiences, a residence scheme, the expansion of Go Theatre, a valuable transatlantic co-operation . co-operative sales scheme for literary magazines, an d publications about Scottish artists. To widen its choice, Promotion and Selling the Council advertised for ideas and suggestions fro m SCAMP (Scottish Association of Magazine the Borders and the Highlands and Islands, and gave a Publishers), a co-operative publicity and selling number of 'one-off * grants for several unusual project s organisation formed by the eight magazines sponsored in these areas.

40 The other extra money was £50,000 made available o n condition that it was given to the Quality of Lif e Experiment in West Dunbartonshire . The idea behind this imaginative and unusual act is to bring together in a defined community the pooled resources and energies of those concerned with the arts, sports, and the environment, in an attempt to devise new means o f community action and self-help . A committee has bee n formed, a project director and staff appointed, an d evaluative research is being arranged .

Similar amounts of extra money for both main purpose s are available in 1974/75, after which the two year experiments will end. It is hop6d that, if successful , there will be some continuing benefits .

People Professor Cedric Thorpe Davie, Douglas Hall , Moira Kennedy, Professor Alan Peacock and Thoma s Wilson retired from the Council at the end of 1973 . All had given distinguished service to the Council and thei r advice and help was greatly valued . Their places wer e filled by David Dorward, Jack Knox and Professo r Michael Flinn . Neil Paterson was appointed Vic e Chairman, and he and James Morris were appointed members of the Arts Council of Great Britain.

Among the staff the major change was the retirement o f Rene Spink, Assistant Director Tours, after twenty-two years devoted service with the Council and it s predecessor . Coming to the Council as a Win g Commander with a distinguished record of service i n the WAAF, a degree in music, and experience as a percussionist, she will be long remembered for the system of co-ordinated tours by professional groups , which she devised, developed and perfected. Her extraordinary resource and meticulous planning, he r deep love of the arts, and the understanding and tact with which she dealt with countless artists and over a hundred clubs throughout Scotland, made her man y friends. It was wholly fitting that of the three presentations she received from the Council, the staff, and the Clubs, it was the Clubs' that was the mos t memorable.

41 Wales

Introduction post-school situation cancels out the benefits of this Most local authorities have powers under the loca l very substantial investment. To neglect to provide fo r authorities acts, or other public or private statute, to the arts on the dubious assumption that they are of spend money on or to levy rates for purposes o f interest to an educated minority only is both a entertainment, a sphere which includes but is wide r contradiction of current educational policy and a sur e than Arts Council activities . The 1948 Loca l way of preserving the arts for that minority . Government Act enabled certain Councils to spend u p to the product of a six-penny rate net on the arts an d Local Authorities have a long tradition for providing entertainment, whereas the Local Government services which are unable to pay their way in a free (Miscellaneous Provisions) Act 1963 gave Count y market, services which were at one time the province o f Councils powers to spend up to the product of private enterprise . Why is it that recreation and the arts one-penny rate on activities deemed to be of benefit t o are such late and so unfamiliar additions to the list ? their ratepayers, legislation which, with the Wels h Church Fund, was used by the Welsh County Councils One of the welcome consequences of local governmen t to support the arts . The Arts Council's grant is spent reorganisation is the setting up of committee s developing and improving the knowledge , responsible for recreation and leisure . Six of the eight understanding and practice of the arts and increasin g County Councils and all but six of the thirty-seve n the accessibility of the arts to the public . District Councils in Wales have already appointe d committees for this purpose . It is hoped that these Two recent attempts to calculate the extent of loca l committees will be furnished with ever increasing funds Authority support for the arts in Wales could not b e to discharge their full range of responsibilities and t o completed to give an exact account . The difference match local authority contributions to the arts wit h between the role given to local authorities and th e expenditure from central funds . With committees more limited function of the Arts Council is one reaso n established and officers appointed, the way is open for why it is difficult to make accurate comparison s them to promote local arts activities, as well a s between the two sources of expenditure on the arts . entertainment.

On the incomplete information supplied by Loca l It is essential that they also contribute and support th e Authorities for the year 1972/73 it appears that th e various regional and national enterprises. thirteen former Welsh County Councils spent no mor e than £56,232 in grants to professional arts organisations . That this should happen is a matter of concern to the This sum is less than one-quarter of that spent by the Arts Council . The responsibility for it rests with the Welsh Arts Council on one organisation . Altogether Regional Arts Associations and, even more so, with the County Councils in Wales spent a total of £ 164,816 o n newly elected Councils . all the arts, amateur and professional, including th e cost of museums which normally would be exclude d Art from these calculations, whereas the Welsh Arts Counci l 1973 will be remembered especially for three events . spent £845,000 on the professional arts . A full penn y The Jewellery exhibition, the opening of Oriel and rate levied by all the County Councils under the 196 3 the appointment of an officer to deal with exhibitions . Act would have provided £715,200 and the total product of a six-penny rate which the other authorities The appointment of an Exhibitions Officer meant tha t were entitled to levy was £2,485,000, whereas the tota l in future the touring exhibition programme would be actual expenditure by all the Local Authoritie s built-up, co-ordinated and administered wit h amounted to about one-tenth of the permitted total . concentrated effort . Quite soon, under this new direction, a new illustrated exhibition bulletin was The Local Government Act 1972 entitles the produced to describe coming events . reorganised Local Authorities to provide `a n entertainment of any nature' and to subsidise the art s During the year the exhibition section of the Ar t without restriction on the level of expenditure, covering Department arranged fifty showings of eighteen Wels h most forms of artistic activities including 'crafts whic h Arts Council exhibitions at twenty-seven centres i n serve the arts' . twenty-nine different buildings. Four of these showings were in England and were supported by the Art s The arts have become an increasingly important par t Council of Great Britain and one was in Edinburgh of the school curriculum . Neglecting the arts in the with the support of the Scottish Arts Council . One

43 NN ales (cowiwwd )

showing was arranged on the mainland of Europe wit h Rhuthun. Portraits of Welsh People was the first the help of the British Council . Eisteddfod exhibition to concentrate on portraiture and was selected by Dr Roy Strong, then Director of the The largest and most complex exhibition arrange d National Portrait Gallery . during the year, Jewellery, was made possible only b y financial support received from `The Observer', Th e From Earth and Fire, selected by ceramicist Mo Jupp, Worshipful Company of Goldsmiths and the Craft s was the first major competitive exhibition specifically fo r Advisory Committee. Based on an idea devised wit h ceramic in all its forms. £1,000 was distributed as Jeremy Rees of the Arnolfini Gallery the exhibition wa s purchases and prizes in each of these exhibitions whic h researched and organised by Brian Beaumont-Nesbit t subsequently toured to other parts of Wales . and Ken Baynes . Featured were four importan t contemporary jewellers Gerda Flbckinger, Joh n In a series devoted to various print-making techniques , Donald, Louis Osman and Charlotte DeSylla s Japanese Wood Cut Prints had been selected from a representing radically different styles and approache s collection at the National Museum of Wales . The to the subject . Another part of the exhibition presented broadsheet-catalogue described fully their origin an d glimpses of the whole history of jewellery and ye t the techniques involved . another dealt, in pictorial form, with related socia l attitudes. For the first time an exhibition for the Literature Committee was jointly organised by the Art an d The exhibition opened at the National Museum o f Literature Departments . Welsh Dylan was a comple x Wales in Cardiff, and was shown subsequently a t presentation and was shown at six centres . Goldsmiths Hall in London, the Royal Scottish Museum in Edinburgh and the City of Liverpoo l Wales Black and White - an exhibition of photograph s Museum . In all it was seen by a total audience o f by David Hurn was brought about as a result of th e 103,000 . Council's first Commission Award to an eminen t photographer . David Hurn's continuing project of An unusual and successful feature, arranged i n recording life in Wales was represented by a first co-operation with the Crafts Advisory Committee, wa s selection of forty finished prints against a backgroun d a competition which allowed one of the visitors at each which demonstrated, through 400 marked-up contac t venue to commission a piece of jewellery worth £250 sheets and small trial prints, the photographer's method from an exhibitor . of working and of arriving at his final choice.

In the rest of the exhibition programme respect wa s A Labour ofLove was the first-ever collection of offered to late Welsh artists of fame, Ceri Richards (in testimonials and certificates . Selected by Peter Strevens i t two memorial exhibitions, the major arranged i n provided a definitive introduction to a little-appreciate d conjunction with the National Museum of Wales an d art form and demonstrated the variety of skills that a t the other by the Contemporary Art Society for Wale s one time were employed in recording social appreciatio n which had selected works from its previous purchase s and eminence. and from its own members' collections) ; Augustus Joh n (in a special exhibition of etchings from the Nationa l As always a number of exhibitions prepared in previou s Museum's collection) and Brenda Chamberlain (which years were still in demand . Eurominiprotopack (the was also a memorial exhibition arranged by th e multiple exhibition prepared by Group One Four) , National Museum but toured by the Welsh Art s Recording Wales Two, Chapels (the exhibition o f Council). twenty-seven commissioned topographical paintings ) and Industrial Devices (the exhibition of nineteent h Contemporary artists of fame and promise wer e century transfer designs) continued to be appreciated. represented in group and competitive exhibitions . The exhibition of writing and drawings by David Jone s The 56 Group Wales had organised its annual had had its final showing at the National Museum of exhibition around the theme A Rainy Day and this Wales in the earliest part of the year and the Art s was toured by the Council to the North and East Council of Great Britain collection of small sculptures corners of the Principality . The two competitions by Henry .Moore was toured by the Welsh Arts Council arranged in co-operation with the Royal National to three centres . Eisteddfod of Wales, Dyffryn Clwyd, were shown firs t in the Art and Crafts pavilion on the Eisteddfod field at Scoop, Scandal and Strife (the first exhibition dealing

44 with the effects of photography on the design and layou t `Considering all these factors the Arts Council decided of newspapers) was shown by special request in Liege i n to open a gallery in a central area of Cardiff - to be Belgium with the help and support of the Britis h dedicated mainly to showing works by artists from, o r Council. Showings of the Arts Council of Grea t resident in, Wales - to institute an information service, Britain's exhibitions Kenneth Armitage and Serpentine provide news and details of art events in Wales (an d Photography 1973 were arranged at Aberystwyth and elsewhere) and to begin an Artists' Register which coul d Llanelli and made up the total of all bookings arrange d offer information about and illustrations of work b y by the Welsh Arts Council to fifty-two . painters, print-makers, sculptors, designers, illustrators and photographers associated with Wales . All these The Exhibition Officer began to make arrangements t o aims have become crystallised in Oriel. . . .' take advantage of important exhibitions that might b e able to come to Wales at short notice while other aspect s A grant was given to enable the important exhibitio n of his work included giving advice on possible Illusion to be imported. Other grants aided exhibition s improvements to the exhibition centres in the Welsh by art societies although, in future, these would entirely circuit. The Arts Council's gallery in Museum Place had be under the wing of the Arts Associations . The National closed at the end of last year's programme but it wa s Eisteddfod was again given support towards the cost s not until the last days of the current year that the firs t of designing and installing the art and crafts exhibitio n exhibition was shown at the Welsh Arts Council's ne w at Dyffryn Clwyd and the Welsh Books Council' s gallery in Cardiff Oriel. Design Department received £3,000 to continue its work of encouraging the employment of designers by n The foreword to the catalogue of this first exhibitio the Welsh publishing industry. 56 Group Wales at Oriel said : Many of the awards recommended for artists' project s . . . `For many years artists have needed more place s are necessarily long in coming to fruition . Only three where their work could be brought to the attention o f d the public. The untimely demise of the Howard Robert s out of the five commissions to produce a story an illustrations for a children's book were completed, so i t Gallery in Cardiff and the reduction in the activity of was not possible to take further steps towards havin g the Dillwyn Gallery in Swansea made clear that it was . Several Commission Award becoming increasingly difficult to operate such venture s these published as a series projects which had been awarded in previous years wer e no matter how much energy, enthusiasm and expertis e still being worked upon . The exception proved to be an was provided by their directors . Award made to the sculptor Jonah Jones to help him to `In Wales this work has been continued, sometimes carry out a project originally commissioned by th e with considerable success by pioneers such as th e North Wales Association for the Arts . Llantarnam Grange Art Centre at Cwmbran and the Albany Gallery in Cardiff, also by the universities i n As a result his keen interest in art education at all level s Cardiff, Aberystwyth and Bangor . Jonah Jones decided to initiate a project at a school i n Dolgellau where he worked with the pupils to desig n `Recently the Glynn Vivian Gallery in Swansea ha s and carry out a very large work in the open air . arranged exhibitions for young artists and an occasiona l Although the official presentation of the sculpture wil l library such as at Wrexham will be found to have buil t not take place until next year the sculpture has alread y up a reputation for an enlightened programme o f been completed . exhibitions by living artists . Now the Arts Associations in the North, West and South East are beginning t o As a first publishing venture linked with Oriel the offer the same opportunities to unknowns - but all of artists Mary Lloyd Jones, Eric Malthouse, Eric Rowan , these endeavours deal only with a fraction of artists Christopher Shurrock and Jeffrey Steele were each capacities. commissioned to produce a design for a postcard.

`Although sympathies can be expressed for the scores Other important publications were in preparation and a of artists who might have to wait many years for a n grant was made to the University of Wales Press whic h exhibition, there is also the misfortune of the public t o had agreed to publish two volumes on Art in the series consider. In a situation where exhibitions are few and `An Illustrated History of the Arts in Wales' . The first far between, the desirable experience of art, its volume would be based upon the catalogue for th e absorption and its maturing into appreciation ar e major exhibition Art in Wales - a survey offour thousand regrettably slow. years which was originally prepared for the Eisteddfod

45 NN ales (contitilic,l )

in Swansea in 1964 . The second volume would be artists would be aided by the documentation being put written by Eric Rowan and would deal with the perio d together by Mrs Kirsten Dunthorne for A Bibliography from 1850 to the present . of Art in Wales .

Although a fourth exhibition in the Art and Societ y Drama series (provisionally entitled Sex) was not held, Lund During the year there have been major development s Humphries, publishers of the books associated with th e both in the history of individual theatre companies and exhibitions War, Work and Worship, decided to in the opening of the first new theatres to be built i n complete the series and brought out the fourth and fina l Wales for half a century or more. volume . This pioneering venture and the co-operation between the Council and a sympathetic publisher has An example of the former was the decision taken by th e been more than justified by the world-wide interes t respective boards of the two companies to link the which the series has evoked. The Council als o English language unit of the Welsh Theatre Compan y supported the publication of the only authoritative with the greater resources and experience i n book on the architecture of Wales, Cardlffand the management and production of the Welsh National Valleys by John B . Hilling which was published by Opera, to form the new Welsh National Opera and Lund Humphries with a foreword by HRH The Prince Drama Company . This coincided with the decision o f of Wales . Additional grants from Aberdare UDC, University College Cardiff to allocate generous period s Merthyr Tydfil CBC and Pontypridd UDC were use d of stage time throughout the year in the Sherma n to commission two Welsh photographers Joh n Theatre to performances by the Drama Company . McNamara and John H . Thomas to take for the boo k This collaboration has brought Cardiff nearer to the hundreds of new photographs of architecture and enjoyment of a resident theatre company than at an y townscape. time since before the war, while it offers the company a stronger base of operation than it has ever had, and on e The commissioning of artists to produce public from which it can hope to serve a circuit of othe r sculptures is still all too rare in Wales and the Counci l theatres in Wales as they develop : it is encouraging that awarded a further grant to Swansea City Council for already all the company's major productions for th e its initiative in approaching Kenneth Martin to design Sherman have also been seen, and some of them hav e a large work for the city centre . opened at Theatr y Werin, Aberystwyth .

The Art Committee continued to support films made This important development in English language theatre by artists and films on the visual arts . But only one of has been paralleled in Welsh. As a unit of the Welsh the films awarded a grant was completed within the yea r Theatre Company, Cwmni Theatr Cymru ha s Clive Whalley's animated film This is the life established consistently developed a touring network for Wels h impressive standards for low-level technology . performances : this year it has finally become a fully independent organisation with its own board o f For the first time a video tape recording was financed management. The Company's centre of operation is i n and the three artists Peter Berry, Paul Wood and Kevin Bangor where its home base will be the new Theat r Wright wrote and produced a programme dealing wit h Gwynedd in the University College of North Wales . concepts in art education called An Epistemic This year the Company has established valuable link s Inheritance . The studio work was carried out with the with the new theatres that are already available a t help of the television department of Cardiff College o f Harlech and at Aberystwyth : together they have helped Education . to demonstrate public demand for an increased outpu t of productions in Welsh, which Cwmni Theatr Cymr u As in previous years two tours of art films were has tried to satisfy. The Council welcomes this further established with the backing of the Arts Council o f evidence of public response to the Company's work an d Great Britain's Art Film Department . recognises that it needs to develop accordingly . At the same time there remains concern that there is continuin g As well as direct support to artists and art activities a difficulty in attracting sufficient suitably trained great deal of less obvious work was carried out . The Welsh-speaking actors to meet the combined needs of Cardiff City Information Office adopted and publishe d theatre and television in Wales and during the year th e the Cardiff Arts Afap based on an idea from the Ar t Council instigated discussion of this problem betwee n Committee which financed the design and illustration . the interested parties : it is hoped that an apparent In future years research into the background of Welsh shortage in this crucial area will not undermine the ver y

46 valuable bringing together of other resources that i s Ceredigion. The team has been established in now developing in Welsh theatre . co-operation with the local education authority and i s fully bilingual . It is appropriate that Cwmni Theatr A sub-committee responsible for reviewing the needs o f Cymru and the Welsh Drama Company find a regula r dance in Wales has met regularly during the year . audience in Theatr y Werin, but the visits of leadin g Its work has been concerned particularly with the English companies are also well received and form an development of two projects : Moving Being, and the important element in the programme : this is particularly formation of a Welsh Dance Theatre . In this field of true of dance companies, and Aberystwyth is fortunat e theatre, so far neglected at a professional level in Wales, in having attracted during the past year Ballet Rambert , it is again a pooling of resources that has begun t o London Contemporary Dance and Northern Dance produce positive results . Moving Being is an Theatre. established mixed-media company which has moved to Cardiff and is based at the Chapter Arts Centre where With the opening of an arts centre based on Cole g its productions are prepared and presented before going Harlech, interest in the arts in one of the most sparsel y on tour. The Company has also been closely concerne d populated regions of Wales has been given the fresh with the design and realisation of Chapter's ow n impetus of good facilities and professional adminis- theatre . The idea of a Welsh Dance Theatre, to provid e tration. The programme in Theatr Ardudwy has bee n a contemporary dance company for Wales, has been intensive, combining those activities traditionall y sponsored by the Sherman Theatre with invaluabl e associated with the College, such as the Music Club an d advice, interest, and encouragement from th e Film Society, with much which is less familiar and o n Gulbenkian Foundation and the Contemporary Danc e occasion less accessible but which it is important for a Trust : it is planned to establish the company from regional arts centre to make available. But the theatre August 1974 . programme is only part of this centre's policy : it has been recognised from the beginning that it is importan t Last year's report drew attention to the advent of three to stimulate interest from within a number of individua l new theatres : Theatr y Werin as part of Aberystwyth communities in the region as well as promoting a Arts Centre in the University College of Wales ; Theatr programme of events in Theatr Ardudwy : this is, o f Ardudwy as a focal point for the arts centre based on course, a long-term policy for the full realisation of Coleg Harlech ; and the Sherman Theatre in Universit y which larger resources are likely to be needed than College Cardiff. This year they have been open to th e those so far made available by Coleg Harlech and th e public for a wide range of activities, and it is interestin g Welsh Arts Council. to note the extent to which each responds in its polic y and programme to the needs of the locality it serves . While new theatres have been getting under way, th e New Theatre Trust in Cardiff has celebrated its l Ot h The Sherman Theatre has made an individual Anniversary : since purchasing the building an d contribution to the arts in South East Wales, fo r ensuring its future use as a live theatre, the corporation example, as a regional film theatre, and through its has progressively refurbished and improved it, whil e co-operation with the Welsh Drama Company, while a t the programme has gone from strength to strength , the same time it has been careful to develop a policy matched by substantial public response : the which takes into account the work at the New Theatre , Anniversary programme was suitably garlanded . which is able to attract the larger scale of DALT A touring productions, and Chapter, an arts centr e During the year the Council approved the followin g operating on a smaller scale . Each organisatio n Drama awards and bursaries : to Colin Paris, to atten d maintains an individual identity and complements the the Polytechnic of Central London Diploma Course i n work of the others . the Administration of the Arts (Cwmni Theatr Cymru seconded Lyn Jones to attend the same course) : to Aberystwyth Arts Centre has had to plan for the Julia Piggott for technical study at the Sherma n appetite of a very different catchment area, and respon d Theatre : to Sarah Green to study design and productio n positively to the specific needs of a rural and bilingual with London Contemporary Dance : to Michael population . It has so far done both with considerabl e Pearson, towards the cost of travel to the Festival o f success : by drawing in good audiences for concerts an d Festivals at Wroclaw : to Keith Wood, towards the cost theatre performances, and by establishing a theatre i n of a project based on The Philosopher's Stone, b y education team to go out from Theatr y Werin int o Artaud, at the Sherman Theatre. schools and individual communities throughout

47

Wales (continued )

The following productions, commissioned with th e there are several aspects of the Literature Committee' s Council's support, were given their first professiona l work which should be considered as central to it s performance during the year : function and the following account is intended t o indicate briefly what these are . Cwmni Theatr Cymru Cymod Cadarn Emyr Humphreys The Literature Committee is convinced that, in the firs t YFfin Gwenlyn Parry instance, it has a responsibility for offering direc t Harris Islwyn Ffowc Elli s patronage to the writer and on the advice of it s Tro Byd T. Glyn Davies Bursaries Panel, during 1973/4, eleven applicants wer e released from their usual circumstances for periods o f The following new works were commissioned with th e up to twelve months in order to devote themselves t o Council's support : the writing of specific books . The writers were Eigra Lewis Roberts, Dafydd Rowlands, W . H. Canaway , Eisteddfod Genedlaethol : John Ormond, Peter Tinniswood, Gwen Moffat, Alu n Anterliwt W. S. Jones Richards, Richard Llewellyn, T. Llew Jones and tw o Lliwiau Cudd Bryan Martyn Davie s young writers, John Roberts and Peter Davies. A furthe r five writers were awarded grants to travel abroad, t o Cwmni Theatr Cymru : countries including Israel, Denmark, Italy, German y Dewin y Daran Richard Vaughan and Yugoslavia, while engaged in research for th e Untitled R. A. Robert s purpose of their writing . Untitled Eigra Lewis Robert s The same conviction that writers deserve and nee d Breconshire Theatre Company : financial reward for their work, together with the publi c Untitled Ewart Alexander interest which such recognition brings, underlies th e Untitled John Greene Welsh Arts Council's policy of awarding annual prize s to the authors of those books which, in the Literature Caricature Theatre : Committee's opinion, are of exceptional literary merit . The Happy Hypocrite Christopher Nicholls In 1973/74 the prizes were of £500 each and th e (adaptation ) recipients were David Jenkins, Alun Richards an d John Ormond . Prizes of £ 1,000 each were awarded t o Literature two writers who have made distinguished contribution s As in previous years, the Literature Committee to the literatures of Wales over many years : Euros maintained its support for the writers and publishers o f Bowen the poet and Richard Hughes the novelist . Wales during 1973/74 with an allocation of £89,500 . Although this sum may seem generous in compariso n While the Council's Bursaries and prizes were awarde d with the Arts Council's expenditure on Literature i n to writers with published books to their credit, it s Northern Ireland and Scotland, and even with that i n support for literary periodicals ensures that all writers England, it is fully justified by the existence in Wales o f whose poems, stories, articles and reviews are accepted two literatures, each of which is different from the othe r by the editors can expect payment, however modest, fo r in both its strengths and its deficiencies . Furthermore , their work. This grant-aid, totalling £14,850 in 1973/74 , it should not be forgotten that the Literature is.used as fees to contributors, editors' fees and as a Committee's allocation represents no more tha n contribution towards the cost of printing, and is 8 per cent of the Welsh Arts Council's total revenue calculated according to each magazine's frequency , grant during the year under review . format and literary content . Without these subsidies it is difficult to see how any of the eleven magazines no w In a situation which is multifarious in character and i n supported by the Welsh Arts Council could have which it is the principal but not the only patron o f survived the rapidly increasing production costs of th e literature, the Welsh Arts Council is obliged to use it s last two years . On the other hand, unless the Council' s resources in a variety of ways . Since 1968 the Literatur e grants are soon matched by an improvement in th e Committee has become involved in all aspects of the circulation of these magazines the Literature Committe e literary scene in Wales and, while its policies may stil l will have to consider whether or not its subsidies ar e perplex its critics because they are continuously already excessive in the light of the number of copies developing and their details are not always known, it s sold. ubiquitous role is generally acknowledged . Nevertheless,

48 Attempting to encourage new writers in yet other ways, Council . The exhibition, which was researched by Joh n the Literature Committee sponsored three competitions Ackerman, opened at the Sherman Theatre, Cardiff, during the year . The BBC's series `Wales, where ar e and ihen visited Swansea, Aberystwyth, Mold an d your poets?', organised at the Council's request an d Bangor. with its financial support, attracted a large number o f entries and the adjudicator, Mr John Wain, made a In the series Writers of Wales, published by the selection for broadcasting . Some of the winning entries University of Wales Press on the Arts Council's behalf, in the Council's Creative Prose Competition were there appeared five more monographs, bringing the published in the anthology `The Old Man of the Mist' , series to seventeen titles, on the life and work of Joh n while in the Young Poets Competition the winners wer e Cowper Powys, D. J . Williams, Glyn Jones, Richar d Duncan Bush, Tony Curtis and Nigel Jenkins, each o f Hughes and Jack Jones. Four volumes dealing wit h whom received £100 and publication of a selection of literature in the series `An Illustrated History of the Art s their poems in the book `Three Young Anglo-Wels h in Wales' were also planned in consultation with th e Poets'. University of Wales Press .

The Literature Committee's policies for the support of On the advice of its Translations Panel, the Literatur e writers was extended when the Welsh Arts Counci l Committee launched a number of schemes designed to agreed to establish, in association with the University of secure translations from foreign literatures into Wels h Wales, an International Writers Prize worth £1,000 . and from Welsh literature into English . The University The first recipient is the major French writer Eugen e of Wales Press continued to publish the series `Drama u Ionesco who will spend a fortnight in Wales as the gues t Mawr y Byd' on the Council's behalf, the Academi t o of the University and the Arts Council during th e publish a series of European novels translated int o autumn of 1974. Welsh with the Council's support and work was begu n on a series of anthologies of short stories in translation . Meanwhile, the writers of Wales continued to take par t A translator's bursary was awarded during the year, a in the various projects organised specifically for them . number of commissions offered to translators and a During the year over 200 visits took place under th e translation competition for schools was organised . Writers in Schools scheme which the Literatur e Department administers in co-operation with the thre e The Arts Council's support for Welsh publishers is b y regional arts associations, and the Dial-a-Poem service now well known . Its production grants are intended t o (although now transferred to the associations) wa s supplement those from central government which ar e operated successfully . The Council also provided administered by the University of Wales Press Board , financial assistance to Yr Academi Gymreig (the and between them they maintain the Welsh publishin g National Society of Writers in Wales), and the Literature industry . More specifically, without the subsidies of the Officer who joined the Council's staff in January 197 4 Welsh Arts Council, which is the only public body which was appointed secretary of the Academi's Englis h dispenses funds for books in English, it is clear tha t language section . It is hoped that on the appointment o f hardly any books by Anglo-Welsh writers would b e a second Literature Officer who will be responsible for published in Wales . During 1973/74 the Council's grant s the Welsh language section, the Academi's activities to publishers totalled £14,530 and thirty-seven titles will be extended further with the Arts Council's support . were supported . These books, of which eighteen were i n Welsh and nineteen in English, were mainly volumes Among projects directly provided by the Literature of poetry, novels, short stories, essays, plays, criticism , Department during 1973/74, the exhibition Welsh Dylan, biography and anthologies - the only categories eligibl e organised with the Art Department on the twentiet h for grant-aid from the Arts Council while the anniversary of the poet's death, proved extremel y Government grant proves adequate . Each was popular. A complex exercise, it consisted of a larg e supported on the advice of the Production Grant s number of photographs from many sources, books an d Panel's independent readers and on conditions relatin g magazines, original manuscripts and letters, painting s to the author's contract and production standards. and other material associated with Dylan Thoma s during his early years in Swansea and his later residence During the last two years the Literature Committee ha s in Laugharne. At the opening reception the poet's been considering what the Welsh Arts Council's role in daughter, Aeronwy, read a selection of her father' s the subsidy of book production should be and has ha d poems and, together with an illustrated catalogue, a an opportunity of reviewing the situation in which th e poster-poem of `Fern Hill' was published by the publishers of Wales have to exist . Having done a good

49 NN ales f nnotrumc d

deal of research, it has decided that it would be prepare d forward to the many exciting possibilities which th e to amend its own policies if the functions of the other Oriel bookshop will provide. public bodies involved in the patronage of the Wels h publishing industry were co-ordinated and it intends Music pressing the need for rationalisation in its meetings wit h During the year under review the Council offered the Welsh Language Council in the near future . £300,000 to the Welsh National Opera Company , allocated £1 15,000 for the Music Committee's At the same time the Arts Council maintains its interes t expenditure and a further £29,000 was provided for in all books published in Wales, or of specifically Welsh music festivals . interest, and regardless of content or standard, by it s support for the Welsh Books Council . It is represente d Mr Gareth Thomas was appointed Chairman of th e by its members and officers on the Books Council' s Music Committee in January 1974, succeeding M r committees and it finances the administration an d Iorwerth Howells who had served since 1964 . At the activities of the Editorial, Publicity and Desig n end of his term of office it was appropriate that M r Departments. The work of these three departments i s Howells was nominated by the Council to receive th e described in the Welsh Books Council's Annual Report . 1974 John Edwards Memorial Award offered by th e The Arts Council's grant-aid, which increased t o Guild for the Promotion of Welsh Music, in recognitio n £20,000 in 1973/74, amounts to about half of the Book s of the Council's promotion of orchestral music i n Council's income, the other half being provided by Wales, and of its sponsored recordings of contemporary Local Authorities . This support for the Books Counci l Welsh music . is intended to help improve the standard of the Welsh publishing industry and will continue for as long as th e These two fields of activity formed an important par t publishers go on developing their own resources . For of the Music Committee's work during 1973/74 . although the Welsh publishing industry must continue Orchestral concerts included performances by the to be subsidised in the present circumstances, it is th e London Symphony Orchestra (Andre Previn, Guid o Welsh Arts Council's wish to help the publishers mak e Ajmone-Marsan, Sergiu Commissiona, John Ogdon , the most effective use of its subsidies while learning t o Vladimir Ashkenazy), Warsaw Philharmonic Orchestr a do without them . Meanwhile, since there is ampl e (Andrzej Markowski, Piotr Paleczny), Polish Radi o provision for all books in Welsh, whatever their content , Symphony Orchestra (Stanislaw Wislocki), Welsh and particularly as the sales of most do not var y Philharmonia (Richard Armstrong, James Lockhart , significantly, whatever their standard, it is misleadin g Jack Brymer, Andre Navarra, Peter Katin) and th e to criticise the Welsh Arts Council for its special interest BBC Welsh Orchestra (Boris Brott, Akeo Watanabe , in `creative literature' which is, after all, its first an d Meredith Davies, Vernon Handley, Elaine Skorodin , most proper responsibility . Janet Price, Susan Dennis, Malcolm Binns) . The BB C Welsh Orchestra gave a special concert at its Llandaff It was in an attempt to help the publishers, and at th e studios in October to inaugurate a unique co-operatio n same time to provide a service to the writers and th e between the Council and the BBC in Wales . The Counci l public, that the Literature Committee recommende d made a grant to the BBC to increase the strength of the two years ago that the Welsh Arts Council should ope n orchestra from forty-four to sixty players and th e its own bookshop . During 1973/74 the staff of th e orchestra now gives more public concerts in Wales tha n Literature Department were responsible for plannin g ever before. the shop, which is situated at the Council's Oriel centre in Cardiff. A bookshop manager was appointed i n Welsh works in the season's orchestral concerts include d November 1973 and the premises are now open . The Fairest of Stars and the Fantasia on Welsh Nursery shop, which is run in association with H . J. Lear Ltd , Tunes (Grace Williams), Aurora (Jeffrey Lewis) , stocks a wide selection of contemporary English an d Fiorintre and Symphony U. 4 (Alun Hoddinott) . American poetry, books on the theatre, music, cinem a leuenctid and Dobra Niva Suite (Daniel Jones), Celtic and the visual arts, posters and children's books, print s Dances, Dance Overture and Divertimento for string and small press publications, books from the othe r orchestra (William Mathias), Intrada(John Metcalf ) Celtic countries and the widest range of spoken wor d and Stanzas (Paul Broom). The works by the thre e records in Europe. It also keeps a comprehensive stoc k young composers John Metcalf, Jeffrey Lewis and Pau l of both Welsh and Anglo-Welsh literature, includin g Broom were all first performances . magazines. The Literature Committee has thus forged 'the final link' between writer and reader and looks

50 Two symphonic recordings of Welsh Music were issue d The fourth Welsh Arts Council Young Welsh Singers under Council sponsorship on the Decca label : Competition was held as part of the Llandaff Festiva l t Symphony No. S, Horn concerto and Piano concerto and the finalists gave recitals with piano accompanimen No . 2 by Alun Hoddinott (Royal Philharmoni c as well as appearing at the New Theatre, Cardiff, in a Orchestra, Andrew Davis, Barry Tuckwell and Martin performance with the BBC Welsh Orchestra . The winner f Jones) and the Harp Concerto, Dance Overture , of the competition this year was Patricia O'Neill o Invocation and Dance and Ave Rex by William Mathias Pontarddulais, a student at the Royal College of Music , (London Symphony Orchestra, David Atherton, Osia n and Eirian James of Cardigan was the runner-up . Ellis and the Welsh National Opera Chorus) . Four The judges were Professor Dr Sandor Veress of Bern , chamber music recordings were made in associatio n Christopher Cory (who celebrated his tenth year as with Argo Records - a disc each devoted to works b y Director of the Llandaff Festival), Peter Gellhorn an d Alun Hoddinott, Daniel Jones and William Mathia s the Council's Assistant Director for Music . and a disc of songs by Morfydd Owen, Mansel Thomas , David Wynne, David Vaughan Thomas, Meirio n Details of awards made for advanced study and fo r Williams and Dilys Elwyn-Edwards - and a recordin g commissioning appear elsewhere in this report . of works by Grace Williams (Penillion, Trumpe t Concerto, Fairest of Stars and Carillons for Oboe and Oxford University Press will publish, on the Council' s Orchestra) with the London Symphony Orchestra under behalf, a de-luxe edition of 100 copies of the vocal scor e Sir Charles Groves, with Janet Price and Howard Snell . of the new Alun Hoddinott opera The Beach of Falesa. Fifteen records of Welsh music have now been mad e The edition will be signed by the composer, Glyn Jones under the Council's patronage and these have (librettist), Richard Armstrong (conductor), Michae l undoubtedly been valuable in the promotion of Wels h Geliot (Producer) and Sir Geraint Evans on behalf o f composers in other parts of Britain and abroad . the cast of the Welsh National Opera production .

The Welsh Arts Council and the Arts Association s The Council gave grants to the Welsh Amateur Music support a wide variety of festivals and these event s Federation and Youth and Music (Wales) . which have grown in number and generally achieved a good level of support, have a distinctive value i n Welsh National Opera and Drama Compan y bringing the arts to the notice of local communities . After two successive years of progress, made financiall y They may perhaps be open to criticism in so far as the y containable only by imposing severe constraints, th e merely confine activities into the space of a short period , Welsh National Opera entered the 1973/74 period face d but at the very least they can be welcomed for thei r with problems of cost - escalation on the unpredictable missionary impact . They provide excellent opportunitie s scale confronting all major companies required b y for local initiative and organisation, for publicisin g conditions of grant to maintain the highest artisti c artistic endeavour and achievement, for presenting ne w standards. For companies presenting opera, th e talent and for involving the community, even i f necessity for long-term commitments worsened the temporarily, in cultural activity . The aim of the Council, situation . Being by nature and circumstance a tourin g in respect of all festivals, has been to maintain o r company, with no theatre of its own and no capita l improve standards largely by increasing the professiona l reserves, the impact of steeply rising prices was bound element, but the Council also has regard to th e to fall more heavily on WNO than on others more circumstances and needs of the particular event, so tha t richly endowed . Moreover, the Counties and Loca l its assistance, if required, can be applied in the mos t Authorities in Wales, beset by uncertainties relating t o productive way . The Welsh Arts Council has hande d the new boundary alignments, were unable t o over responsibility for some festivals to the three Art s supplement the Arts Council's increased grant-in-aid Associations but it continues to give subsidies to th e as far as was hoped, and indeed expected . Royal National and International Eisteddfodau , Llandaff, Cardiff, Swansea and Vale of Glamorga n Meanwhile, WNO had been formally requested t o Festivals . However, the division of responsibilit y accept responsibility for the English Language Section between the Council and the Associations for festival s of the Welsh Theatre Company, and this extra challeng e will need constant reviewing as new festivals emerge was taken up in the belief that fresh ground might be and the smaller ones develop . The North Wales an d broken in collaborative work for the performing arts i n Fishguard festivals, for example, have expanded rapidl y a way which also made a useful contribution to the in recent years . successful launching of the Sherman Theatre for th e University of Wales. When the merger was brought

51 Wales (rontintied )

about, WNO then became WNOD (The Welsh Nationa l Opera and Drama Company).

At that time, WNO was moving towards the positio n where its orchestra, the Welsh Philharmonia, could la y justifiable claims (on financial as well as artistic grounds ) to becoming wholly employed . In addition, the Oper a Company's first appearance on the Continent was du e to be mounted . The performances of Britten's Billy Budd at the Lausanne and Zurich Festivals were widel y acclaimed. The pressures on Management at John Street during that eventful period were considerable.

Here in Wales, there had been evidence of price resistance at the box-office, due to the incidence of VAT - even though a splendid critical reception ha d greeted the new productions : Mozart's /domeneo and Bizet's Pearl Fishers in the autumn, preceded in th e spring by Verdi's Don Carlos and Puccini's Madama Butterfly . Barely within the period under review cam e the world-premiere ofAlun Hoddinott's first opera , The Beach of Falesa, sung by a largely Welsh cas t headed by Sir Geraint Evans in a style compared by th e music critics not unfavourably with other origina l British operas given a month or so earlier. HTV commendably transmitted the whole of the Hoddinott opera in colour for Welsh viewers and the BBC broadcast a performance in sound on the nationa l network.

At the request of DALTA, the Opera Company explored new territory in various English centres , thereby laying foundations for the future. For this, a s for all other activities, the main artistic impetus spran g from Michael Geliot and Richard Armstrong at WNO, but new guest-singers, designers and conductors wer e also introduced - notably Georg Fischer, the conducto r from the Cologne Opera, and David Atherton from th e Royal Opera House, Covent Garden . The benefits of a two-way traffic operated when Mr Geliot was agai n loaned to the Royal Opera House, this time to direc t the new production of Carmen conducted by Sir Geor g Solti. The young designer for that occasion was Jenni e Beavan, a discovery of "OD . Could this be a porten t of later possibilities ?

52

The Arts Council of Annual Accounts Great Britain for the year ended 31 March 1974

page A3 Notes on accounts

Table A A4 Awards to artists 1973/74

B A14 Housing the Arts 1973/74

C A15 Accumulated deficiency grants 1973/74

D A16 Analysis of drama grants and guarantees 1973/7 4

E A20 Promotion of new drama and neglected play s

F A27 National Manuscript Collection of Contemporary Writers 1973/74

G A28 Special Funds Beneficiaries 1973/74

H. A. Thew Fun d

Mrs Thornton Fun d

Henry and Lily Davis Fund

Guilhermina Suggia Gift for the'Cell o

Compton Poetry Fun d

H A29 Art exhibitions

I A31 Contemporary Music Network and Stopover Season s

A32 Arts Council of Great Britain accounts

A64 The Scottish Arts Council account s

A82 The Welsh Arts Council accounts Notes on accounts

I the three cities, and to investigate the effectiveness of The Revenue and Expenditure Account shows that th e new and experimental promotional methods . Thes e Council overspent its Grant-in-Aid of £ 17,138,000 fo r schemes will also continue into 1974/75 and the sum s 1973/74 by £205,754. This was the result of the committed in 1973/74 are detailed in Schedule 3 Department of Education and Science's decision t o (England) under Arts Associations . withhold £250,000 during the last days of th e financial year because it was considered that, although A further portion of the special money was committe d largely committed, this cash would not be require d towards the costs of providing much needed new by 31 March 1974. lighting boards in the five touring theatres detailed i n Schedule 3 (England) under Arts Centres and Regiona l The accounting problems which lie behind this decisio n Projects. and the difficulties of reconciling the cash accountin g operated by H . M. Government and the normal With the special regional development monies the commercial accounting required by Company Law hav e Council was also able to increase its original allocation s been reviewed in discussions with the Department o f of funds to the Scottish and Welsh Arts Councils, an d Education and Science . The requirements of the Arts to Arts Associations, Arts Centres, Art Exhibitions , Council and the Companies it subsidises have bee n Contemporary Music Network and Touring in England . taken into consideration and new procedures have bee n agreed whereby the Council's grant-in-aid is guaranteed to be available, even if not required for payment in ful l Towards the end of 1973 the Council decided t o within each financial year. abandon its Reproductions Loan Scheme which had been in operation since 1954. The value of the collectio n 2 of reproductions was written off the Balance Sheet a t The increase in the reserve for Special Art Projects i n 31 March 1974 and the reproductions were distribute d the Council's Balance Sheet reflects the capitalisation o f between the Regional Arts Associations in England . existing publications stock at I April 1973 . Publications are no longer written off in the year of purchase and 5 year-end stock is shown on the Balance Sheet . Incom e During the financial year under review the Counci l and Expenditure in respect of publications is show n accepted the recommendation of its Art Panel tha t in Schedule l of the accounts . limited funds should be made available towards the costs of exhibition equipment and improvements to ar t 3 galleries. Subsidies in this category are included unde r The Council's 1973/74 grant-in-aid included a sum o f Art in Schedule 3 (England). £718,000 earmarked by the Government for regiona l development. 6 During 1972/73 the Council established a pension A substantial proportion of this sum was made availabl e scheme and resettlement fund for dancers and in towards the costs ofspecial campaigns to improve the December 1973 seminars were held in Birmingham, range and quality of leisure in four areas - Edinburgh and London in order to bring the subject of Sunderland and Stoke-on-Trent in England, Flintshire pensions to the attention of employers in the arts fiel d in Wales and West Dunbartonshire in Scotland . Thes e and to inform administrators and managers of th e campaigns, in collaboration with the Department o f decisions and action to be taken before the provisions o f the Environment, the Department of Education an d the Government legislation come into effect in April Science and the local authorities in each area, wil l 1975. The Council's net contribution towards the cost s continue into 1974/75 . Funds committed in 1973/74 of these seminars is included in Schedule 2 (England). towards the costs of the campaigns are detailed i n As a result of the seminars the Council set up a number Schedules 3 under Arts Associations in England and of working groups to examine the possibility o f Projects, Arts Centres and Clubs in Scotland . providing pensions schemes for a large variety of art s employees and it now seems likely that these schemes Funds were also made available towards the costs o f will become established in 1975/76 . three special arts promotion schemes in Birmingham , Bristol and Sheffield. The purpose of the schemes i s 7 twofold : to increase audience and box office income a t The Council received a further donation of £ 1,500 from the theatres, concerts, galleries and other activities in I.B.M. (United Kingdom) Limited in 1973/74 and thi s

A2 sum is to be made available as prizes to be awarde d 1 0 in connection with the Council's Serpentine Gallery The Scottish Arts Council's Balance Sheet records the Exhibition `Art Into Landscape' . purchase during the year of freehold property at 336 , 348 and 350 Sauchiehall Street, Glasgow . These 8 premises in a lively and busy thoroughfare are being It had been hoped that during the year under revie w adapted for use as an arts centre where exhibitions , the Council would derive considerable benefit from a performances of music and drama, and poetry reading s triennial system of forward planning under which th e can take place. It is hoped that the arts centre will open Council was to be informed of the likely level of it s early in 1975 . grant-in-aid for a period of three years ahead so tha t both the Council and its beneficiaries would be able t o 1 1 plan their policies in advance on a realistic footing . The Council agreed during 1973/74 that the mos t appropriate and effective method of providing financia l However, probably as a result of Government change s support in certain cases is to grant an interest-free loa n and the general financial situation, the advanc e on condition that repayment of the loan can b e information on future years grants has not bee n guaranteed. The Scottish Arts Council's Balance Sheet received, but the Council hopes that the system will includes an interest-free loan of £1,000 which enable d become firmly established as soon as the financia l a musician to purchase a harpsichord. conditions essential to its satisfactory operation have been restored. Nevertheless, the degree of financia l 1 2 information received from the Department of Schedule I of the Scottish Arts Council's accounts Education and Science in respect of future years includes expenditure of £770 on the Glasgow Gabl e enabled the Council to adopt a more flexible metho d Ends project . This item refers to the scheme "to get art of subsidy for certain organisations . Under this metho d off Art Gallery walls and on to walls where people ca n the organisations concerned will be able to clai m see it as part of their daily lives" under which gable end s against a proportion of the total subsidy included i n of Glasgow buildings are being decorated by group s Schedule 3((England) and offered in 1973/74 in that of local artists. and the subsequent two years . The Council's officer s are continuing to develop flexible methods of subsid y 1 3 which it is hoped will encourage economy and ensur e The Scottish Arts Council is participating in a major that subsidy is applied to the maximum possible benefi t long-term research project on the supply and demand and advantage . of leisure facilities in Scotland. The major sponsor i s the Scottish Tourist Board together with the Highland s and Islands Development Board, the Countrysid e A number of the organisations listed in Schedules 3 Commission for Scotland and the Forestry Commission . (England and Scotland) received further subsid y Expenditure of £5,000 incurred in respect ofthis towards the additional costs of touring and thes e project during 1973/74 is included in Schedule 2 of subsidies are detailed in Schedule 5 (England) an d the accounts. Schedule 4(Scotland) . Schedule 5 (England) Drama also includes details of subsidy made available t o 14 theatres in respect of fringe and experimental season s The Welsh Arts Council's Balance Sheet record s at Birmingham, Liverpool, Manchester an d expenditure on leasehold property at 53 Charles Street , Newcastle. Groups taking part in the seasons are Cardiff. These premises opened on 1 May 1974 as a shown in Table i of the accounts . gallery/bookshop specialising in Welsh language publications . It is not general Council policy to make funds available to venues instead of to performing groups, but in thes e 1 5 cases the procedure was agreed to be administrativel y The Balance Sheet also includes gifts of works of ar t more satisfactory for the large number of group s valued at a total of £1,205 presented to the Council fo r involved . The Council's officers are continuing to . its collection and a gift of exhibition equipment value d explore alternative methods of making funds availabl e MEMO . to fringe and experimental groups which will ensur e that adequate fees are charged and paid for their performances.

A3 Table A Awards to artists 1973 74

ENGLAND MUSIC Anthony Gilbert Cheltenham Festiva l Barry Guy Macnaghten Concert s Commission fees and copying cost s Jonathan Harvey Redcliffe Concerts of Britis h Music Denis ApIvor Redcliffe Concerts of Britis h Robert Harvey British Dance-Drama Theatre Music John Haynes Northern Dance Theatre Neil Ardley Globe Playhouse Trus t Anthony Hedges York and District Brass Ban d Richard Arnell Ceolfrith Arts Centre Associatio n Peter Aston Louis Halsey Singers David Hellewell Apollo Contemporary Music W. H . Auden Redcliffe Concerts of Britis h Ensembl e Music Tony Hewitt-Jones Stroud Festiva l Simon Bainbridge Athena Ensembl e Suffolk Singers Walter Trampler Trevor Hold Midland Chamber Orchestra Henrietta Bannerman Dance for Everyone Robin Holloway London Sinfonietta William Bardwell Redcliffe Concerts of Britis h Joseph Horovitz Cheltenham Festiva l Music (two commissions ) National Brass Ban d David Bedford Electric Candl e Championships of Grea t John Alldis Choir Britain Richard Rodney West Riding Cathedra l Donald Hunt Lincolnshire Associatio n Bennett Festival Committe e Michael Hurd Canterbury Singers Lennox Berkeley Westminster Cathedral String Southampton Choral Society Orchestra Gordon Jacob Cantori Vocal Ensemble Gilbert Biberian Epsilon Wind Ensemble Midland Musicians Concert s Harrison Birtwistle Les Percussions de Strasbourg Wilfred Josephs National Youth Brass Band of Michael Blake Watkins Grimethorpe Colliery Ban d Great Britain Purcell Consort of Voices Redcliffe Concerts of British Geoffrey Burgon Baccholian Singers Music Cheltenham Festival Three Choirs Festiva l Geoffrey Bush Redcliffe Concerts of Britis h John Joubert Thames Concerts Society Music John Lambert Lyndon van der Pum p Ian Carr Globe Playhouse Trus t Mercury Ensemble Tony Coe Kentjazz Philip Lane Gloucestershire Yout h Bruce Cole Saltarello Choir Orchestra Justin Connolly John Constable and Brian Kenneth Leighton Gervase de Peyer, Willia m Hawkins Pleeth and Peter Wallfisch Frank Cordell Cheltenham Festival John Lewis Ballet Ramber t Christine Courtney Ballet-Go-Round David Lord British Dance-Drama Theatre Martin Dalby Cantores in Ecclesi a Spode House London Sinfoniett a Edward Lucie-Smith Ceolfrith Arts Centre Carl Davis Cheltenham Festival Elisabeth Lutyens Cheltenham Festival Howard Davidson Electric Candl e English Bach Festival Trust Peter Dickinson Cheltenham Festiva l Janet Craxton Richard Drakeford Little Missenden Festival Matrix Sebastian Forbes Wynford Evans and Carl Purcell Consort of Voice s Shavitz Elizabeth Maconchy The Byron Societ y John Fraser Northern Dance Theatre Nicholas Maw Baccholian Singers Shena Fraser East Kent Federation o f London Symphony Orchestra Women's Institutes Wilfrid Mellers Leeds Musical Festival John Gardner Redcliffe Concerts of British Laverne Meyer Association of Ballet Clubs Music Lincolnshire Association Shepperton Singers Harry Miller Contemporary Dance Trust Michael Garrick Merseyside Arts Association Mike Gibbs Globe Playhouse Trus t Lambeth New Music Society

A4 Anthony Milner Redcliffe Concerts of British Robin Winbow British Dance-Drama Theatre Music Peter Wishart University College London Thames Concerts Society Music Societ y David Morse Association of Ballet Clubs Roger Worthington Royal Ballet Choreographi c Simon Mottram Northern Dance Theatre Group George Newson Essex Youth Orchestra Matrix Bursaries Stephen Oliver Capricorn Jane Attfield Buxton Orr London Jazz Composers Trevor Batten Orchestra D. J. Breach Tony Oxley London Jazz Composers Elton Dean Orchestra John Fishe r Andrzej Panufnik Redcliffe Concerts of British Dudley Glass Music Stephen Gottlieb Paul Patterson Arthur Davison Orchestral Jonathan Harvey Concerts for Children David Hellewell Besses o' th' Barn Brass Band Vic Hoyland Georgina Dobree David Humpage Anthony Payne New London Ensemble George Khan Gertrude Pfaflinger Northern Dance Theatre Edward Lambert David Pinder Tyneside Theatre Company John Lifto n Priaulx Rainier Redcliffe Concerts of British Patricia Linton Music George Lloy d Bernard Rands Macnaghten Concerts Royston Maldoo m Howard Rees Electric Candle Barry Morelan d Alan Ridout Redcliffe Concerts of British Alan Nisbe t Music Mike Osborn e Howard Riley London Jazz Composers Howard Riley Orchestra Nigel Rollings Francis Routh Redcliffe Concerts of British Alan Skidmore Music Naresh Soha l David Rowland Jane Manning John Surman Edwin Roxburgh British Youth Wind Orchestra Rod Willmott Portia Wind Ensemble Trevor Wishar t Paul Rutherford London Jazz Composers Orchestra Francis Shaw Julian Byzantine Robert Sherlaw Redcliffe Concerts of British Johnson Music Spode House DRAMA Dennis Smith Contemporary Dance Trust Playwrights Richard Stoker Redcliffe Concerts of British Michael Abbensetts *Royal Court Theatre, London Music Steve Gooch *Open Space Theatre, London John Surman Lambeth New Music Society David Pinner *Key Theatre, Peterborough Giles Swayne Raymond Leppard Rony Robinson *Crucible Theatre, Sheffiel d Oliver Symons Ballet-Go-Round Ian Taylor *Victoria Theatre, Stoke-on- Jonathan Thorpe Northern Dance Theatre Trent Ernest Tomlinson Northern Dance Theatre Olwen Wymark *Unicorn Theatre, Londo n Stan Tracey Globe Playhouse Trust Barry Collins Julia Usher Gloucester Youth Orchestra Alfred Fagon Michael Vernon Association of Ballet Clubs Steve Gooc h Igg Welthy Contemporary Dance Trust R. G. Gregory Graham Whettam Schiller Trio Wilson John Haire Philip Martin

A5 Table A iNards to artists 1973 7 4 (continued)

ENGLAND DRAMA (continued ) Trainee technicians Paul Chappell Mustapha Matura Terry Clark Michael Sadler Jeremy Godde n Graham Swannell William Oul d Snoo Wilso n Actors Play commission s Eileen Davie s Howard Brenton *The Playhouse, Nottingha m Charles Haggit h Stanley Eveling *Joint Stock Theatre Company Phil Woods *Foco Novo Productions Bursaries John Dowie John Whiting awar d Raymond Hasset t David Rudkin Bruce Lacey Roland Muldoo n Trainee designers John Ratzenberge r John Macfarlane *The Young Vic Christopher Sandford Sarah Mile s *Phoenix Theatre, Leicester Emil Wolk David Reeki e *Theatre Royal, York Adrian Smith *Victoria Theatre, Stoke-on - Trent Alison Waug h *Bristol Old Vi c ART Judith Wild *The Playhouse, Leeds Discretionary awards Michael Bearwis h A. J. Addiso n Judith Bland Maurice Agi s Charlotte Brill Stephen Amor Richard Croft Rosie Antrobu s Jacqueline DeSouz a Geoffrey Armstrong Graeme Dot t Ray Atkins Philipp Jung Jules Baker Christopher Kinman Mervyn Baldwin John Macfarlane William Bank s Malcolm Oswald Roslyn Banish David Reekie Phyllida Barlow David Short Kate Barnard Alison Waug h Colin Barrow Judith Wil d Paul Beauchamp Sue Beere Trainee directors John Bellamy David Carso n Anthony Benjamin Jeremy Gagan Douglas Binde r Paul Hellyer John Blandy John Hol e Richard Bloomfield Pedr James Raymond Boyd Neil Johnston Sue Braden Rhys McConnochie Robert Bradford Jan Sargent Robert Browning Jeremy Spenser Bryn Campbel l William Zappa Paul W. Carter Stephen Carte r Tony Casemen t Marc Chaimowit z Bob Chaplin Christopher Clairmonte

A6 David Clapham Peter Jones Simon Clarke Robert Kauders Ian Colverson Jonathan Kaufma n Julian Cooper David Kay Tony Costa Christopher Killi p Christopher Davies Robin Klassni k Neil Davies Tony Knipe Alan Davis Stuart Knowle s David Davis Josef Koudelka Keith Deane Peter Kuttner John Dewe-Matthews Keith Lambert Norman Dilworth John Law Ian Dobbie Malcolm Le Grice Peter Dockley Edwina Leapman Peter Donebauer Dante Leonelli Michael Duckworth David Leverett John Dugger Howard Long David Dye Tony Longson Paul Eachus John Loveless Tom Evans Peter Lowe John Farnham Rita Marshal l Ann Finlayson Ron McCormick Carolyn Fitzgibbon Ian McKeever G. S. Foster Jenny McNulty Martin Fuller Tom McPhillips- Elena Gaputyte Denis Masi Ian Gardner Nicholas Ma y Joseph Gilbert Daniel Meadows A. Gillilan Ron Michaelson Jules de Goede David Mill s Patrick Goff Dennis Morri s Keith Grant John Myers Kenneth Gray Gerald Naso n Vaughan Grylls Paul Neagu Nigel Hall Peter Nea l Sally Hargreaves Annabel Nicolson Michael Harrison John O'Connor Gerard Hemsworth E. A. Osborne William Henderson Jim Parke r Marcia Herscovitz Michael Pennamacoor Andrew Hewkin Michael Pennie Peter Hide Angela Phillips Tony Hill Gerry Pine Susan Hiller Fred Pollock Colin Hitchmough David Przepiora Carole Hodgson Anne Pullinger John Hopkins Peter Rea Neil Hornick Keith Reeves Ned Hoskins David Remfry Sylvester Jacobs George Rodger Richard James Howard Rodgers Ben Johnson Silvia Rodger s Elaine Johnson Bob Russell Bernard Jones Marcello Salvadori

A7

Table A Awards to artists 1973 74 (continued)

ENGLAND ART (continued) Patrick Creag h Margaret Croslan d Claire Schwob Michael Davidson Peter Sedgley Kay Dick Roland Shannon Gil Elliott John Sherrington Gavin Ewart Paul Sibbering John Fairfax Ron Sims Monica Furlon g Ian Sinclair John Hodgson Penny Slinger Glyn Hughes Agathe Sorel Jennifer Johnston Alfred Stockham David Jones Telfer Stokes Yvonne Kapp Trevor Sutton Paddy Kitchen Homer Sykes Lois Lang-Sims Dave Taborn Ian McEwan Donald Taylor John McGahern Wendy Taylor Leo Madigan Susan Tebby Derek Mahon Michael Train V. S. Naipau l Michael Trim John Noon e David Troostwyk Tom Pickard Steven Trower Peter Prince David Turner Henry Reed Nigel Van Wieck Barbara Rees David Vaughan Jean Rhys Raymond Walker Margaret Simpson Steve Walton Hilary Spurling Patrick Ward Anthony Storey Richard Ward David Tipton Roger Warren Eric White Rhonda Whitehead Gerry Whybrow Grants to translator s Gwyn Williams Austin Wright Antonia White Marie Yates Grants to publishers

Advent Books `Soledades' by Antoni o Machado, translated by LITERATURE Michael Smit h Hamish Hamilton `Textermination' by Christin Grants to writers e Limited Brooke-Rose Jonathan Cape Limited `The Legionnaires' by Pe Paul Ableman r Olov Enquist Nicholas Armfelt Martin Secker & `Jonah' by Peter Porter and Rosalind Belben Warburg Limited Arthur Boyd Jeremy Brooks Peter Owen Limited `Radiguet Reassessed' b y Alan Brownjohn Margaret Croslan d Sylvia Bruce Peter Owen Limited `The House in the Dark' by Richard Bums Tarjei Vesaas, translated by Philip Callow Elizabeth Rokkan Barry Cole Robson Books Limited `Poetry Dimension T edited David Coxhead by Dannie Abse

A8 EDUCATION IN THE ART S

Training courses in arts administratio n

Bursaries

Diploma course: Geraldine Hadaway Elizabeth Jackma n Camilla Mitcheson Robert Palmer Jeremy Tyndal l

Practical course : Erica Brigh t David Brooke Danielle Fox Len Graham Doreen Halewoo d Susan Heb b Kay Jamieso n Andrew Jowet t Jonathan Masters Diana Rivet t Neil Rosborough David Staples Richard Vaughan-Payn e Richard Welton

A9

Table A N«ards to artists 1973 7 4 (continued)

SCOTLAND MUSIC Alan James Wat t Special grants Hazel Woo d David Dorward James Douglas John Maxwell Geddes DRAMA John Weeks Trainee designer s Margaret Lucy Wilkins Priscilla Truett *Edinburgh Civic Theatre Trus t Thomas Wilson Limite d William Wordsworth Trainee administrator s Commissions John Aitken Jane Beeson *Scottish Theatre Ballet Bridget Brow n Jack Carter *Scottish Theatre Ballet Maureen Garrett Peter Cazalet *Scottish Theatre Ballet Philip Gil l Marie Dare *Scottish Amateur Musi c Association Trainee directors George Devlin *Scottish Theatre Ballet Ronald Johnston *Dundee Repertory Theatre Shaun Dillon *Clackmannan County Limited Education Committee Frank Nealon *Traverse Theatre Clu b *Duns & District Art Guil d David Dorward *Cockburn Association Bursarie s *Doric Trio Reg Bolto n *Glasgow Chamber Orchestra Suzanne Graham-Jone s *Scottish Baroque Ensemble Norman MacDermot t Trust Limited Hector MacMillan *Dundee Repertory Theatre Walter Gore *Scottish Theatre Ballet Limited Bryan Kelly *Scottish Amateur Music Ian and Jill Purves Association Alisdair Skinner *Byre Theatre of St . Andrews Norman McDowell *Scottish Theatre Ballet Annie Staine r John McLeod *Glasgow Orchestral Society Joan Ur e George Newson *Strathearn Arts Guild Bill Watson *Perth Repertory Theatre Andy Park *Cumbernauld Theatre Group Limited Wilma Paterson *Trio Concordi a Philip Prowse *Scottish Theatre Ballet Travel grant John Purser Joan Dickson Stewart Con n Elizabeth Schooling *Scottish Theatre Balle t Andrew Secchi *Glasgow Chamber Orchestra Frank Spedding *John Currie Singers Limited ART *Scottish Amateur Music Bursaries Association Alasdair Anderson Thomas Wilson *Scottish Theatre Ballet Robin Banks William Wordsworth *Association of the Friends of Stan Bel l Ledlanet Nights Limited Archie Brenna n *Craigower Ensemble Gordon Bryce Frederick Bushe Bursaries Edward Chisnai l Carolyn Coxon George Donal d Moira Drozdz Andrea Duncan Patricia Hay Michael Edward s Geoffrey Haydock Ronald Gunn Claire Margaret Livingstone Richard Hough Henry McGlone James Howie Owen Murray John Kirkwood Thomas Scott Eileen Lawrence

A1 0 Alexander Lecki e Book and new writing awards Will Lorimer Forbes Bramble Margery Loudo n David Daiches Talbert McLea n Amy Stewart Fraser Graeme Murray Robin Jenkin s Elizabeth Ogilvie Norman MacCai g George Oliver Alisdair Maclea n Glen Onwin Rosalind Marshal l Derek Roberts Edwin Morgan Harry Salvin John Murray Gavin Scobie Andrew Smit h Grants to publishers Blackie & Son Limited `The Art of J . D. Fergusson' Awards : as film makers by Margaret Morris Douglas Dent Caithness Books 'Autobiography' by Fionn Frank Kuppne r MacColl a William Morto n Calder & Boyars Limited `Carotid Cornucopious' by Margaret Tait Sydney Goodsir Smith Carcanet Press 'Made in Scotland' by Robert Commissions Garioch Roger Dainton *Corporation of Edinburg h `Recent Scottish Writing ' Ian Hamilton Finlay *Corporation of Aberdee n edited by Paul Mills and Benno Schot z *Royal Burgh of Stirling Michael Schmid t not yet decided *Livingston Development Chatto & Windus 'Stardust on the Pavement ' Corporation Limited by Frederick Broadi e Club Leabhar 'Blood and the Moon' by Lorn MacIntyre William Collins Sons & 'The Days of Duchess Anne ' Company Limited by Rosalind K . Marshal l LITERATURE Garret Arts `White Boats' by Andrew Bursaries Greig and Catherine Alan Bol d Czerkawska Donald Campbel l MacDonald Printers 'Contemporary Scottish Alisdair Gray (Edinburgh) Limited Poetry' by Robin Fulton Thomas Heal y Molendinar Press `A Cuckoo's Nest' by Car l Alan Jackso n MacDougal l James Kelman Routledge & Kegan `Religion and Social Class' by Frank Kuppner Paul Limited Professor Andrew McLare n Norman MacDonal d Southside (Publishers) `The Bevellers' by Roddie Lorn MacIntyre Limited MacMillan Rev. Colin Mackenzi e Alisdair Maclean Allan Campbell McLea n Robin Munr o Robert Nye Judith Woolf

Munro award Jack House

Travel grants Alan Bol d Sean Hignet t Neill Oram

All

Table A kwards to artists 1973 7 4 (continued)

WALES MUSIC Julia Piggot t Bursaries Keith Woo d Gareth Davie s Margaret Field ART Eleanor Harries Commission s C arys Hughes Mary Lloyd Jone s Eirian James Jonah Jone s Annette Merriman Ivor Roberts Jones Huw Lloyd Thomas Eric Rowanuse . Western Hilary G Eric Rowan Christopher Shurrock Commissions Jeffrey Steel e Mervyn Burtch North Gwent Festiva l Welsh Dance Theatre Bob Downes Film making Ronald Emanuel Cardiff Festival of 20th Brian Ashbee Century Music Peter Barry - Paul Wood - Kevin Wrigh t Llandaff Festival David Harries Malcolm Bourne Pendyrus Male Choir Alun Hoddinott John Ghallo Royal National Eisteddfod of Clive WhalleyWhalle and Alan McPherson Wales Arwel Hughes Cor Aelwyd Caerdyd d Daniel Jones Cathedrale Notre-Dame de LITERATUR E Paris Grants to publishers Llandaff Festival Carcanet Press Limite d Richard Roderick- Guild for the Promotion of Christopher Davies Limited Jones Welsh Music Eisteddfod Genedlaethol Cymru Jeffrey Lewis *BBC Welsh Orchestra Gwasg Gee Guild for the Promotion of Gwasg Gomer Welsh Music Gwasg y Si r William Mathias Coleg Harlech John Jones Limited Fishguard Festival Llyfrau'r Fane r Royal National Eisteddfod of Martin Brian & O'Keefe Limite d Wales Oxford University Press John Metcalf Cardiff Festival of 20th University of London Pres s Century Music University of Wales Pres s Welsh Philharmonia Ian Parrott Dyfed Choir Grants to translators Elis Pehkonen Cirencester School Percussion R . M . Jones Ensemble John Watkins Phyllis Tate Cardiff Festival of 20t h Century Music Bursaries Stan Tracey Fishguard Festival William H . Carraway Arnold Whittall Cardiff Festival of 20th T. Llewellyn Jone s Century Music Richard Llewelly n Grace Williams *BBC in Wales Gwen Moffa t David Wynne Royal National Eisteddfod of John Ormon d Wales Alun Richards Eigra Lewis Roberts Dafydd Rowlands DRAMA Peter Tinniswoo d Bursaries Sarah Green Young writers bursaries Colin Paris Peter Davies Michael Pearson John Roberts

A1 2 Honours Euros Bowe n Richard Hughes

Prizes David Jenkins John Ormond Alun Richard s

Travel grants Gillian Clarke Bryan Martin Davies Gwyn Erfyl Judith Maro Gwyn Thomas

* In these cases payment is made to the organisatio n shown.

A13

Table B Housing the Arts 1973,74

In 1973/74 the Arts Council's grant in aid of £17,388,000 included £1,270,000 for Housing the Arts . Of this sum £620,000 was for projects in the Government Assisted Areas. The details of the-f- 1,270,000 can be found at the end of Schedule 3 where £590,500 is accounted for in England, £274,000 in Scotland, and £405,500 in Wales . The Arts Council was also empowered to enter into commitments during 1973/74 to make provision for Housing th e Arts up to a total of £1,160,000 above the cash grants of £1,270,000 . During December 1973 the D .E .S . instructed the Council not to undertake any further commitments . As at 31st December 1973 a total of £920,000 had been committed out of the total of £1,160,000 originally authorised and the details of this are set out below :

ENGLAND ------Poole County Borough Council : Arts Centre 150,000 Lincolnshire New Theatre Trust Limited 100,000 Manchester : Royal Exchange Theatre Trust 100,000 Salisbury Arts Theatre Limited 0 ppp Bristol : Arnolfini Gallery Limited 40,000 _ Hereford Theatre Trust - 30,000 Redbridge : Theatre Centre Limited 25,000 Southwark Rehearsal Hall Limited 25,000 Leah Borough Council Library Theatre 20,000 - Moss Empires Limited : Bristol Hippodrome 17,00 0 Birmingham :- Cannon Hill Trust Limited 15,000 Bah Arts Council 15,000 - Avoncroft Museum of Buildings Limited 13,000 _ York City Art Gallery__ -- - - 10,000 Hatfield Rural District Council 8000 Newcastle upon Tyne : Northern Sinfonia Concert Society Limited - 6_000 Bridport and District Arts Society 5,000 London : Sadler's Wells Trust (Coliseum) Limited - 4,700 Lichfield and District Arts Association --3,300 The Bury St Edmunds Theatre Management Limited 3,000 Louth Playgoers Society 3,000 Brampton : L.Y.C . Museum 2000 Boston: Blackfriars Theatre Limited 1,000 676,000

SCOTLAND Dundee Repertory Theatre Limited 100 ,000 Airdrie Town Council :-Civic Centre 30,000 University of St Andrews 25,000 Hawick : Wilton Lodge Art Gallery 7 ,000 - -- - - 162,000

------WALES Builth Wells : The Wyeside-Trust 50,00 0 Milford Haven Further Education and Community Centre Management Committee 15 1 000 Bala Urban District Council 6,500 Borough of Barry : Memorial Hall 5 ,000 _ Chapter Cardiff Limited 3,500 Llantarnam Grange Arts Centre Management Committee - 2,000 --- - - 82,000 £920,000

A14

Table C Accumulated deficiency grants 1973/74

ENGLAND £ Oxford : English Bach Festival Trust 3,000 Meadow Plavers Limited 7,369

Note: The sums detailed above are included in the amounts shown in Schedule 3.

A15

Table D Analysis of drama grants and guarantees for the year ende d 31 March 1974 including subsidies offered but not yet paid at that date

Revenue Capital Ne w Training Young Total grants or expendi- drama and schemes people's guarantees ture neglected theatre play s activities £ £ £ ENGLAN D National Theatre Board 390,000 300 234 60,000 450,534 Royal Shakespeare Theatre 420,000 420,00 0

Billingham Forum Theatre 12,000 400 7,000 19,40 0 Birmingham : Alexandra Theatre (Birmingham) Limited 15,000 500 15,500 Birmingham Repertory Theatre Limite d 120,000 1,200 121,200 Bishop's Stortford : Spectrum Theatre Trust Limited 3,000 3,000 Bolton : Octagon Theatre Trust Limited 32,500 800 100 8,500 41,900 Bristol Old Vic Trust Limited 109,150 1,600 195 110,94 5 Bromley: Churchill Theatre Trust Limited 6,000 6,000 Cambridge Theatre Company Limite d 37,250 800 38,050 Canterbury Theatre Trust Limite d 21,450 500 550 22,500 Cheltenham Everyman Theatre Company Limited 30,000 1,500 400 31,900 Chester : Gateway Theatre Trust Limite d 22,000 500 22,500 Chesterfield Civic Theatre Limited 15,000 1,200 16,200 Chichester Festival Theatre Productions Company Limited 10,000 10,000 Colchester Mercury Theatre Limite d 47,500 2,000 49,500 Coventry : Belgrade Theatre Trust (Coventry) Limite d 67,600 1,850 4,500 73,950 Crewe Theatre Trust Limited 18,880 1,850 800 2,250 23,780 Derby Playhouse Limited 24,500 2,560 1,500 28,560 Exeter: Northcott Devon Theatre and Arts Centre 40,940 1,700 7,300 49,940 Farnham Repertory Company Limite d 23,250 400 1,750 25,400 Guildford : Yvonne Arnaud Theatre Management Limited 31,400 1,600 1,600 34,600 Harrogate (White Rose) Theatre Trust Limited 33,000 285 400 2,000 35,685 Hornchurch Theatre Trust Limite d 34,000 400 34,400 Ipswich Arts Theatre Trust 29,000 500 500 4,000 34,000 Lancaster : The Duke's Playhouse Limite d 38,000 1,050 6,000 45,050 Leatherhead : Thorndike Theatre (Leatherhead) Limited 44,750 400 1,250 46,400 Leeds : Interplay Trus t 1,010 2,250 3,260 Leeds Theatre Trust Limite d 60,500 1,500 1,100 208 8,000 71,308 Leicester Theatre Trust Limite d 70,000 500 1,050 104 7,000 78,654 Lincoln Theatre Association Limite d 33,800 250 800 1,200 36,050 Liverpool : Merseyside Everyman Theatre Company Limite d 2,960 36,000 38,960 Liverpool Repertory Theatre Limited 72,000 1,000 1,100 74,100 London : Camden Playhouse Productions Limited 20,000 600 1,150 21,750 Caryl Jenner Productions Limite d 3,720 35,250 38,970 English Stage Company Limited 131,000 2,730 4,000 137,730 Greenwich Theatre Limited 23,700 200 800 3,300 28,000 Hampstead Theatre Club Limited 15,000 1,000 2,810 18,810 Inter-Action Trust 20,500 1,000 690 6,500 28,690 Mermaid Theatre Trust Limite d 45,000 45,000 National Youth Theatre 800 16,500 17,300 New Shakespeare Company Limite d 3,000 3,000 Pioneer Theatres Limite d 45,000 900 1,000 46,900 Polka Children's Theatre Limited 5,984 5,984 Theatre Centre Limite d 32,500 32,500 Manchester : Sixty Nine Theatre Company Limited 44,250 44,250 Manchester Young People's Theatre Limite d 800 20,000 20,800 Newcastle-upon-Tyne : Tyneside Theatre Trust Limited 35,100 800 5,500 41,400 Northampton Repertory Players Limited 23,000 650 23,65 0

Carried forward £ 1,505,020 712,995 £40,220 £507 £238,684 £1,797,426

A16

Revenue Capital Ne w Training Young Tota l grants or expendi- drama and schemes people's guarantees ture neglected theatre plays activities

Brought forward 1,505,020 12,995 40,220 507 238,684 1,797,426 Nottingham Theatre Trust Limited 107,000 2,750 6,000 115,75 0 Oldham Repertory Theatre Club 15,000 15,000 Oxford : Meadow Players Limited 57,369 57,369 Plymouth Theatre Trust Limited 15,000 15,000 Richmond Theatre Productions Limited 5,000 5,000 Salisbury Arts Theatre Limited 28,300 142 2,200 30,642 Scarborough Theatre Trust Limited 4,500 500 2,000 7,000 Sheffield : Crucible Theatre Trust Limited 101,000 500 4,596 9,000 115,09 6 Southend : Palace Theatre Trust (Southend & Westcliff) Limited 5,500 5,500 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 37,750 750 2,780 234 250 41,764 Watford Civic Theatre Trust Limited 19,250 850 800 5,000 25,900 Worcester Arts Association (S .A . M.A.) Limited 17,850 1,200 150 19,20 0 Worthing and District Connaught Theatre Trust Limited 21,000 3,000 24,000 York Citizens ' Theatre Trust Limited 42,500 1,050 247 2,500 46,297

Actors Company Productions Limited 160 160 Alternative Theatre Company 2,900 800 2,100 5,800 The Basement Theatre Limited 3,735 640 4,375 Black Grass Theatre Company 400 400 Bradford Art College Theatre Group 2,500 400 2,900 Bubble Theatre Company Limited 10,000 160 10,160 Cartoon Archetypal Slogan Theatre 250 250 The Combination Limited 14,250 14,250 Common Stock Theatre Company Limited 1,000 400 1,400 Community Theatre 2,000 400 2,400 Crowd Theatre 2,380 2,380 The Dark and The Light Theatre Limited 410 41 0 Darlington Corporation 500 500 Everyman Theatre Company 560 560 Foco Novo Productions 1,000 650 1,650 Forestage Company 160 160 The Freehold Theatre Company Limited 150 150 Friends Roadshow 5,000 1,500 6,500 Galactic Smallholdings Limited 12,000 1,000 13,000 Gbakanda Theatre Company 400 400 The General Will _ 1,500 550 800 2,850 The Half Moon Theatre Limite d 5,000 150 3,200 8,350 Hull Truck Theatre Company 1,860 1,860 Incubus 1,500 200 1,700 Inns Circle 400 400 Jack 750 750 Jean Pritchard Management Limited 400 400 John Roche Productions 3,855 3,855 Joint Stock Theatre Company 1,000 250 1,250 King's Head Theatre Productions Limited 5,000 5,000 London Theatre Group 7,200 7,200 Medium Fair 760 250 1,01 0 Mikron Theatre Company 350 400 750 Mokadi Productions Limited 1,120 1,120 Moloch Productions Company 433 433

Carried forward £2,052,979 £35,437 £69,489 £988 £266,784 £2,425,677

All

Table D AnaIN sis of drama grants and guarantees (continued)

Revenue Capital New Training Young Tota l grants or expendi- drama and schemes people's guarantees ture neglected theatre plays activities £ £ £ £ £ £ Brought forward 2,052,979 35,437 69,489 988 266,784 2,425,677 M.S. Productions 1,200 1,200 Natural Theatre Compan y 5,000 104 5,104 The New Company 160 160 The New Roadshow 6,000 600 6,600 The Off Fringe Theatre 400 400 Oval House 150 150 Paradise Foundry Limite d 11,000 500 150 11,650 Pilk's Madhouse Company 2,000 2,000 Pucka Ri 265 265 Quipu Productions Limited 1,750 1,040 2,790 The Raree Show 650 650 R.A.T. Theatre 1,500 1,500 Recreation Ground Theatre Compan y 2,000 180 2,180 Red Ladder Theatre 4,000 250 4,250 Richmond Fringe Limited 3,500 980 4,480 7 :84 Theatre Company 650 650 Soho/Poly Theatre Clu b 7,200 750 7,950 Southtown Theatre Limite d 400 400 Theatre North 1,200 1,200 Triple Action Theatre Group 1,500 1,500 Tube Theatre 162 162 Vista Plays Limited 400 400 Wakefield Tricycle Company 1,500 1,684 3,184 West London Theatre Worksho p 2,390 350 2,740 Word and Action 1,000 1,000 W.S.G . Productions Limited 650 650 Yeats Theatre Compan y 250 250

Association of British Theatre Technician s 250 18,400 18,650 British Centre of the International Theatre Institut e 500 500 British Theatre Associatio n 8,750 8,750 Commission for a British Theatre Institute 1,000 1,000 Council of Regional Theatre 500 500 National Council of Theatre for Young Peopl e 425 425 Society for Theatre Researc h 175 175 Theatres' Advisory Counci l 1,650 1,650

Bursaries 15,400 17,681 500 33,581

£2,116,396 740,091 793,383 £37,069 £267,434 £2,554,37 3

A18

Revenue Capital New Transport Training Young Tota l grants or expendi- drama subsidies schemes people's guarantees lure theatre

SCOTLAND _ Dervaig Arts Theatre Limited 2,500 4,000 _ 6,500 Dundee Repertory Theatre Limited 40,500 1,778 1,879 450 5,500 50,107 Edinburgh : Edinburgh Civic Theatre Trust Limited 68,155 2,000 728 300 690 14,994 86,867 The Pool Lunch Hour Theatre 6,950 1,610 1,750 10,31 0 Theatre Workshop Edinburgh 1,663 1,663 Traverse Theatre Club 29,946 1,974 31,920 Traverse Theatre Workshop 1,500 1,500 Glasgow: Citizens' Theatre Limited (including Clos e Theatre Club) 88,000 2,525 1,000 1,000 8,200 100,72 5 Perth Repertory Theatre Limited 31,500 6,000 771 200 4,000 42,471 Pitlochry Festival Society Limited 33,250 800 3,750 37,800 St. Andrews : Byre Theatre of St . Andrews Limited 10,000 3,000 350 100 2,100 15,55 0 Stirling : MacRobert Centre 5,000 5,000

Biggar Theatre Workshop 2,000 2,000 British Centre of the International Theatre Institute 175 175 Burgh of Coatbridge 188 - 188 Council of Regional Theatre 125 _-_ 125 Go Theatre 1,500 575 2,075 Harbour Arts Centre, Irvine 10,000 10,000 Orkney Arts Theatre 1,210 1,21 0 St Mary's Church, Motherwell 150 150 7 :84 Theatre Company 8,800 8,800 The Dark and The Light Theatre Limited 256 256 University of Strathclyde 25 _ 25 Training Schemes Bursaries 5,300 _ 5,300 Bursaries 6,950 6,950

£332,108 £24,698 £8,477 £2,850 £5,990 f53,544 £427,667

Note: _ Subsidies were also made available for Touring during the year ended 31 March 1974 and are detailed separately in the appropriate Schedules.

A19

Table E Promotion of new drama and neglected plays

Autho r (a) First Professional Productions Billingham Forum Theatre The Day of the Sardine David Illingworth an d Sid Chapli n Birmingham : Canon Hill Trust Limited The Demon Scheme of Napoleon Cashgoo d Jack Marriot t Birmingham Repertory Theatre Limite d The Nailmakers Malcolm Totten and Jon Rave n Barney's Time Travel Christopher Honer and Roger Lancaster No Title David Rudkin Bolton : Octagon Theatre Trust Limite d Sweetie Pie Bolton TIE Company Bracknell : South Hill Park Trust Limite d Bleak Midwinte r Richard Crane Bradford : The General Wil l There's Always Room i n the Nick Jon Marshall The Dunkirk Spiri t David Edgar Bristol Old Vic Trust Limite d The Case of the Workers ' Plane David Edgar Dracula - A Memory : Bram Stoker adapted by 1897-1973 John Downi e Cambridge Theatre Company Limite d Jeux de Massacr e Ionesco translated by Richard Cottrel l Glasstown Noel Robinso n Cheltenham Everyman Theatre Company Limite d As We Lie David Pownall Chesterfield Civic Theatre Limite d Skimmed Milk Masquerade s as Crea m Lesley Hudma n Living Dol l Reginald Long Indian Summer Vic Hutchinson Coventry : Belgrade Theatre Trust (Coventry) Macbett Ionesco translated b y Limited Charles Marowit z Edith Grove Trevor Barber Assault With a Deadl y Weapon Lance Peters The Butcher Hilary Tunnicliffe Crewe Theatre Trust Limited Jane Eyre Charlotte Bronte adapted by John Cannon A Comedy of Good Intentions Arnold Rattenbury Derby Playhouse Limited Play With Fire Patrick Masefield and Peter Hawkins Phaedra John Edmund s East Midlands Arts Association Mr Thos . Cook's Extraordinary Excursional Temperance Touring Sho w devised by the Compan y And Make Thy Buttons Fly Simon Coady an d Julia McLean Exeter : Northcott Devon Theatre and Arts Centre Bingo Edward Bon d Judge Jeffreys C. G. Bond Farnham Repertory Company Limited Game For Two or More Players David Kelse y Guildford : Yvonne Arnaud Theatre Managemen t Who Wants to be a Hero ? Patrick Masefield and Limited Joseph Tibbett s The Potsdam Quarte t David Pinner Juke Box Joseph Tibbett s Hornchurch Theatre Trust Limited Daughter of the Apaches Bernard Taylo r

A20

Play Author Hull Arts Centre Limited Swallows on the Water Alan Plate r To Kill a King Jim Hawkins D'Artangle in the Centre of the Earth devised by the TIE Company Ipswich Arts Theatre Trust Sir Prancelot John Ryan adapted by John Kennet t Lancaster : The Duke's Playhouse Limited Beauty and the Beast David Pownall The Human Cartoon Show David Pownall Lancashire Hot Pot devised by the Compan y Leatherhead: Thorndike Theatre (Leatherhead) ! A Babysitter Rene de Obaldia translated by Limited Two Women for a Ghost Donald Watso n Leeds Theatre Trust Limited Grandad's Amazing Treasure devised by the TIE Compan y Beauty and the Beast Barry Collins Paradise Hotel Feydeau translated b y Geoffrey Bullen Knight in Four Acts John Harrison Leicester Theatre Trust Limited Economic Necessity John Hopkins Whaam Michadl Payn e Lincoln Theatre Association Limited A Fatal Affair Frank White Liverpool : Merseyside Everyman Theatre Mind Your Head Adrian Mitchel l Company Limited Tarzan's Last Stand C. G. Bond The Battle of Lumbertubs Lane - Grazina Monvi d The Drapes Come Charles Dizens o Slick C. G. Bond Sam O'Shanker Willy Russel l Liverpool Repertory Theatre Limited A Night at the Indian Empire Charles Chilto n Oedipus Sue Wilso n London : Actors Company Productions Limited Flow Gabriel Josipovici Alternative Theatre Company In Two Minds David Mercer The Dawn Richard Drai n Hudson's Amazing Money- Making Steam-Driven Railway Pantomime Richard Drain Dick Deterred David Edgar Scene James Dawson The Basement Theatre Limited Marriages William Trevor A Perfect Relationship William Trevor The 47th Saturday William Trevor The Recital Tom Gallacher The Love Course A. R. Gurney Paradise Gardens Frank Gagliano An Evening With the GLC David Pinner Clevinger's Trial Joseph Heller oubteBill Botticelli Terrence McNally of the Strawberry Gardener Don Haworth Black Grass Theatre Company No Soldiers in St Paul's Alfred Fago n Bubble Theatre Company Limited Boffy and the Scared Witch Roy Kift Camden Playhouse Productions Limited The Cage Rick Cluchey Bang Howard Barke r Housebov Irvine Wardle

A21

Table E Promotion of ne~s drama and neglected platy s (continued)

Play Author _ Camden Playhouse Productions Limite d Ashes David Rudkin (continued) Collected Works David Mowa t And They Put Handcuffs Fernando Arrabal translated on the Flowers by Charles Marowitz Caryl Jenner Productions Limite d Chinigchinich Olwen Wymark Meet Mr McIvor Peter Roch e The Rainbow Robbery Scoular Anderso n The King and the Shirt Matyelok Gibbs, Marged Smith and Olwen Wymar k The Hedgehog and the Hare Adapted from Tolstoy an d Aesop by Matyelok Gibbs , Ursula Jones and Madeline Sotheby The Mooncusser's Daughte r Joan Aiken Common Stock Theatre Company Limited Look at the Women! or Brian Phelan and Confinemen t Olwen Wymark Community Theatre The Motor Sho w Paul Thompson and Steve Gooc h English Stage Company Limite d The Rocky Horror Show Richard O'Brien Sweet Talk Michael Abbensetts Sizwe Batisi Is Dead Athol Fugard Elizabeth I Paul Foster Dick Whittington and his Ca t Mike Leigh Two Jelliplay s Ann Jellicoe Geography of a Horse Dreamer Sam Shepard The Pleasure Principle Snoo Wilson Bright Scene Fading Tom Gallacher Give the Gaffers Time to Love You Barry Reckor d Everyman Theatre Company The Visitors Stephen Coleman Memories Stephen Coleman Foco Novo Productions Drums in the Nigh t Brecht translated b y Peter Tegler Gbakanda Theatre Compan y Gbana Bend u Yulisa Amadu Maddy Greenwich Theatre Limite d Catsplay Istvan Orkeny Zorba Nikos Kazantzakis adapted by Joseph Stei n The Half Moon Theatre Limited The Heroes of Iceberg Hotel Andy Smith The Shoemakers Stanislaw Ignacy Witkiewicz translated by Elizabeth Koznia n and Maurice Colboume Fall In and Follow M e William Colvill e Get Off My Back Johnnie Quarrel, Terry Gree r and Brian Phelan Female Transport Steve Gooc h Dick Steve Gooch The Pig Ban k Eugene Labiche adapted by Botho Strauss and Estella Schmid The Mother Brecht translated by Steve Gooch

A22

Play Author Hampstead Theatre Club Limited Mad Dog _Nicholas Salaman Country Life Nicholas Wood The Ride Across Lake Peter Handke translated by Constance Michael Roloff President Wilson in Yams Kon tsiair The Black and White Minstrels C. P. Taylor Inna Circle Black Feet In the Snow Jamal Ali Inter-Action Trust The Grand Adultery _Conventio n C. P. Taylor Off the Buses Various author s The Amiable Courtship of Miz Venus and Wild Bill Pam Gems Instrument for Love Jennifer Phillip s Parade of Cats Jane Wibberley Mal de Mere Micheline Wando r

Dinah Midnight Mike Stott Spasm Martin O'Lear y A Painting on the Wall David Lan Joint Stock Theatre Group The Speakers Heathcote Williams Little Theatre Club The Funny Old Man Tadeusz Roseiwicz translate d by Adam Czerniawsk i Mokadi Productions Limited Maze Ladislaw Smocek translated by_ Anthony Vivis How Now Michael Sharp _ Upholding the Law David Taylor Moloch Productions Company The Enquiry Office Tardieu translated b y Colin Duckworth MS Productions Wait Till the Son Shines , Nellie _ Lynda Marchal Kingdom Cottage Bill Lyons The Love of Lady Margaret Bill Morriso n The National Youth Theatre The Me Nobody Knows Robert Livingston The New Company ,The Blind Salamander Tim Rose Price

Pioneer Theatres Limited Nuts In June Various authors Quipu Productions Limited The KnowalI Alan C . Taylor Three Jogs Round the Campus Peter King Quipu Anywhere Show Various authors We Are What We Eat Frank Dux _ Towards the End of a Long, Long Voyage Robin Smythe Recreation Ground Theatre Company Duet For One Voice Cocteau translated by

Seeing Red Sara Boyes, Sue Glanville and

The Trick Caroline Holdaway, Vass Anderson, John Burrows and Ken Gregory

A23 Table E Promotion of new drama and neglected play s (continued)

Play Author 7:84 Theatre Company The Reign of Terror and the Adapted by the Company fro m Great Money Tric k The Ragged Trousered Philanthropists by Robert Tressel l Man Friday Adrian Mitchel l Soho/Poly Theatre Club Snaps John Grill o Baby Love David Edgar You Are My Heart's Deligh t C. P. Taylor Urban Guerilla Boutiqu e Terry James Coal Robert Holman Fun Geoffrey Case Come David Mowa t True Life Chris Alle n The Serial Patrick Carter Grabberwitch Vicky Irelan d Vista Plays Limited The Third Wife Ariadne Nicolaeff Wakefield Tricycle Company The Holy Ghostly Sam Shepard Love Story Colin Bennett Stay Where You Are Olwen Wymark The Missing Links John Antrobus How Sparks Learned to Fl y Derek Smith The Dinosaurs and Certai n Humiliations John Antrobu s The Illegal Immigrants John Antrobu s WSG Productions Limite d Larry the Lamb in Toytow n David Wood The Young Vic The Incredible Vanishin g Denise Coffey The Statues in Room 1 3 Reginald Stewart Manchester Young People's Theatre Limited The Manchester United Steve Gran t Show What Did You Expect . . . Paul Clements and the Beatles? John Batty Newcastle-upon-Tyne : Tyneside Theatre Orgy C. P. Taylor Trust Limite d A Worthy Gues t Paul Bailey Northampton Repertory Players Limited Nightmar e Constance Co x Nottingham Theatre Trust Limited Brassneck Howard Brenton and David Hare The Adventures of a Bear adapted by Alfred Bradle y Called Paddington from stories by Michael Bond The Government Inspecto r Gogol adapted by Adria n Mitchell Richmond Fringe Limite d Details of Wife Zoe Fairbairns The Borage Pigeon Affair James Saunders Bye Bye Blue s James Saunders Words of Advice Fay Weldon Filthy Fryer and the Woman Andrew Davies of Maturer Years Private Air Raid John Stock Napoleon Session 2 Robert Gillespie Do Not Move the Patien t Oliver Ford-Davie s Scarborough Theatre Trust Fancy Meeting Yo u Alan Ayckbourn Make Yourself At Home Alan Ayckbourn

A24

Round and Round the Alan Avckbourn

Having a Lovely Time Alan Ayckbour n All Together Now Peter King Sheffield : Crucible Theatre Trust Limited Cast Off David Cregan Facets on a Golden Image Graeme Campbel l The Royal Fool Rony Robinson Free For All Rony Robinson The Nightingale and the Grimm adapted by Alfred

The Golden Pathways John Harding and Joh n Annual Burrow s Rumpelstiltskin Rony Robinson Stoke-on-Trent and North Staffordshire The Most Cheerful Man Peter Terson Theatre Trust Limited Kelly's Winder Ian Taylor The Pioneers Christopher Martin The Card Arnold Bennett adapted by . Joyce Cheeseman The Fight for Shelton Bar devised by The Compan y Worcester Arts Association (SAMA) Limited Run Robert Run Christopher Bidmead Hijack Over Hygenia David Woo d The Scurrilous Adventures Ginnie Hole and John Cooper of Hannah Snell York Citizens' Theatre Trust Limited Dr. Bunting's Scandals David Bret t

(b) Second Professional Production s Birmingham :• Cannon Hill Trust Limited Downright Hooligan C. G . Bond Adventures In The Deep devised by the T.I.E. team at

Bristol Old Vic Trust Limited Subject to Fits Robert Montgomery Tooth of Crime Sam Shepar d Derby Playhouse Limited Was He Anyone? N. F. Simpso n Owners Caryl Churchil l Dreams of Mrs . Fraser Gabriel Josipovic i Little Hopping Robin Paul Abelman You'll Come to Love Your John Antrobu s Sperm Test Exeter : Northcott Devon Theatre and Arts Centre The Pope's Wedding Edward Bon d Harrogate (White Rose) Theatre Trust Limited Death Story David Edgar Leicester Theatre Trust Limited Crimes of Passion Joe Orton Lincoln Theatre Association Limited Measure for Measure Howard Brenton

Camden Playhouse Productions Limited Excuses, Excuses David Edgar Caryl Jenner Productions Limited Cinderella Henry Livings Jupiter Thirteen Christopher Marti n Mr. Ives' Magic Punch and John Grill o Judy Show The Dark and Light Theatre Limited Trials ofBrother Jero Wole Soymka English Stage Company Limited Captain Oates' Left Sock John Antrobu s Forestage Company The Grave Melville Lovatt Hampstead Theatre Club Limited Play Strindberg Friedrich Durrenmatt trans- lated by James Kirkup

A25

Table E Promotion of new drama and neglected pla .N s (continued)

Play _ Author _ _ Hampstead Theatre Club Limited (continued) Union Jack (and Bonzo_) Stanley Eveling Mikron Theatre Compan y Still Water s devised by the Compan y The National Youth Theatre Mind Your Head _ Adrian Mitchel l Wakefield Tricycle Company Why Bournemouth ? John Antrobus Cowboy Mouth Sam Shepar d Nottingham Theatre Trust Limited Soft or a Girl John McGrath Man Frida y Adrian Mitchel l Richmond Fringe Limite d Johesus Henry Wool f Watford Civic Theatre Trust Limited A Patriot For Me John Osborne York Citizens' Theatre Trust Limite d All Over Edward Albee

(c) Third Professional Productions Liverpool : Merseyside Everyman Theatre Company Downright Hooligan C. G. Bond Limited

London : Inter-Action Trus t Squire Jonathan John Arden Nottingham Theatre Trust Limited The Contracto r David Storey

(d) Neglected Plays Bradford Art College Theatre Group The Workhouse Donkey John Arden Exeter : Medium Fai r Amleth Saxo-Grammaticu s Guildford : Yvonne Arnaud Theatre_ Managemen t Noah Andre Obey translated by Limited Arthur Wilmur t Ipswich Arts Theatre Trust The Moon Shines o n Sean O'Casey Kylenamoe Liverpool : Merseyside_ Everyman Theatre Compan y Andorra Max Frisch translated b y Limited Michael Bullock

London: Alternative Theatre Company The Magic of Pantalone Anon. The Dark and Light Theatre Limited The Emperor Jones Eugene O'Neil l Hampstead Theatre Club Limite d The Show Off George Melly Moloch Productions Company The Jewish Wife and th e Brecht translated by Eric Informer Bentley _ Something Unspoken Tennessee Williams Yeats Theatre Compan y f At The Hawk's Well W. B. Yeats The Cat and the Moo n Northampton Repertory Players Limite d Marriage a la Mode John Dryden Nottingham Theatre Trust Limited The Malcontent John Marston Sheffield : Crucible Theatre Trust Limited Baal Brecht translated by Pete r Tegler Watford Civic Theatre Trust Limited The Milk Train Doesn' t Tennessee William s Stop Here Any More York Citizens' Theatre Trust Limited The Two Noble Kinsmen John Fletcher and William Shakespeare

A26 Table F National Manuscript Collection of Contemporary Writers

The following accessions were made by the National Manuscript Collection o f Contemporary Writers during the year ended 31 March 1974

H. E. Bates, Christopher Grieve and James Hanle y Manuscript and typescript materia l (Bought from Miss Oonagh Lahr for the University of London Library)

Martin Boot h Collection of manuscript s (Bought from the author for the University of Birmingham )

George Mackay Brown Collection of manuscript s (Bought from Mr K . V. Duval for Edinburgh University Library)

Walter Greenwood Collection of manuscripts, typescripts and books (Bought from the author for Salford University)

T. E. Lawrence Typescript of a novel The Min t (Bought from a member of the Lawrence family for the Bodleian Library)

Norman Nicholson Manuscripts of poems from a collection entitled A Local Habitatio n (Bought from the author for the British Library)

Vernon Scannel l Manuscripts of poems and of a prose autobiography entitled The Tiger and the Rose (Bought from the author )

John Wain Manuscripts including a short story Darkness (Bought from Dr N . C. Nothmann for the British Library)

A27

Table G Special Funds

Beneficiaries during the year ended 31 March 197 4

H. A. Thew Fund Paul H . Kelly Liverpool Schools Orchestras and Choir s Paul Maye s Susan Moffat

Mrs Thornton Fund Ann Christophe r Justin Knowles John Miln e

Henry and Lily Davis Fund Norman Beedie Medici String Quartet : Anthony Lewis David Matthews Paul Robertso n Paul Silverthorne Stephen Presto n Patricia Price Charlotte Seale _ Faith Noble Wilso n Sally Strane Kathron Sturrock

Guilhermina Suggia Gift for the 'Cell o Nicholas Cherniavsk y Faye Clinto n Robert Cohe n Steven Isserli s Richard Leste r

Compton Poetry Fund University of Dundee

A28 Table H Arts Council exhibitions held in Great Britain during 1973/74

Note : L Exhibited in Londo n R Exhibited in the Region s s Exhibited in Scotland w Exhibited in Wales

England Paintings, drawings, sculpture, et c SR Objects and Documents (selected by Richard Smith) ) LR African Shelter (documentary architectural exhibition) R Square Collection (selected by Lord Dufferin L An American Museum of Decorative Art and Design : R Small Paintings and Drawing s designs from the Cooper-Hewitt Collection, Ne w York Original Prints Kenneth Armitage The Arts Council Collection La Belle Epoque R Eight English Printmaker s Watercolour and Pencil Drawings by Cezanne R Image, Reality, Superreality (selected by Edward George Cruikshank Lucie-Smith) Sculpture by Hubert Dalwood (interval exhibition ) R New Prints 1972 Decade '40s R Ben Nicholson Prints Noel Forster, Peter Joseph, Alan Miller (interva l R Post War exhibition) R Recent Prints by Denny, Dine, Hockney, Kitaj French Popular Imager y R Recent Prints by Kitaj and Paolozzi Lucian Freud How to Play the Environment Game Exhibitions of photography A Hundred European Drawings from the Museum o f L Diane Arbus Modern Art, New York LR Coalface 1900 (Welsh Arts Council exhibition ) R Japanese Prints from the Lewis Collection of Blackburn R Dr P. H. Emerso n Art Gallery LR Personal Views L The King's Arcadia : Inigo Jones and the Stuart Court LR Serpentine Photographers I I L Edvard Munc h R Sir Benjamin Stone LR Patterns of Islam (documentary architectural exhibition) RL Two Views L Pioneers of Modern Sculpture SR Bridget Riley s L Salvator Ros a Fifty-nine exhibitions were held in 144 separate gallerie R Serpentine Directions I I in 108 different places (219 showings, including 30 hel d Serpentine Gallery : in London at the Banqueting House, Hayward Gallery , L (1) Photo-Realism Serpentine Gallery, Victoria and Albert Museum , L (2) Welfare State (Beauty and the Beast ) Whitechapel Art Gallery, and other galleries) . Included L (3) Serpentine Sculpture '7 3 in the above are three exhibitions shown in Scotlan d L (4) Serpentine Painting '7 3 in two different places and two exhibitions shown in tw o W LR (5) Serpentine Photography '7 3 different places in Wales . L (6) Serpentine Graphics '73 L (7) William Tucker Sculpture'70-'7 3 L (8) Landscape : paintings by Norman Adams, Adrian Berg, John Hubbard, Edward Middleditch (9) Roger Hilton Matthew Smith Richard Smith (interval exhibition) Staging the Roman s Systems Vorticism and its Allie s Working Order

The Arts Council Collection R Beyond Painting and Sculpture (selected by Richard Cork) R Designs for Twelfth Night and Don Giovanni - R Drawing Towards Painting R Early Works : small sculpture R Eleven Sculptors : One Decade (selected by Huber t Dalwood) R Multiples

A29

Table H Arts Council exhibitions held in Great Britain during (continued) 1973 74

Note A Also exhibited abroa d E Also exhibited in Englan d s Also exhibited in Scotland w Also exhibited in Wales

Scotland Contemporary Scottish Art Portraits of Welsh People (Royal National Eisteddfo d Dierdre Clancy Drawings of Wales and Welsh Arts Council ) Lucien Clergue Photographs A Rainy Day (56 Group Wales : toured by the Welsh E Earth Images Arts Council ) Georg Ehrlich Sculptures E Recording Wales 2 : Chapels Finlay, Paolozzi and Roschlau Ceri Richards (Contemporary Art Society for Wales) Goya : etchings from Scottish Collections Ceri Richards Memorial Exhibition (National Museu m Illusion (organised by the Institute of Contemporary of Wales and Welsh Arts Council ) Arts) A Scoop, Scandal and Strife (shown in Liege, Belgium , The Indefatigable Mr Allan : Scotland's first genre only) painter Wales Black and White E Innovations in Glass Welsh Dylan (Literature and Art Departments, Wels h Journey to the Surface of the Earth : the work of Mark Arts Council) Boyle Look! Hear? (organised by Northern Arts) Arts Council of Great Britain exhibitions shown in Wale s Ian McCulloch Kenneth Armitage Master Drawings of the Roman Baroque Serpentine Photography 197 3 Henry Moore at Work The Narrow Road to the Deep North Eighteen exhibitions (including two from the Arts Objects USA (The Johnson Collection) Council of Great Britain) were shown in Wales at 2 1 An Octet from Angela Flowers centres in 24 different buildings (46 showings in all) . Open Circuit Return Trip Rosenquist Print s 15 Scottish Painters Tiger Tim & Co : a look at children's funny paper s William Turnbull

Welsh Arts Council exhibitions shown in Scotland An Alternative Traditio n Jewellery

Twenty-six exhibitions (including 2 from Wales) were held in 31 buildings in 22 centres (55 showings in all) . These totals do not include showings in England .

Wales Brenda Chamberlain Memorial Exhibition (National Museum of Wales and Welsh Arts Council) From Earth and Fire Etchings by Augustus John Eurominiprotopack E Industrial Devices (shown in England only) Japanese Woodcut Prints David Jones and Writing, Drawings (National Museu m of Wales and Welsh Arts Council) A Labour of Love Henry Moore (exhibition temporarily taken over from the Arts Council of Great Britain ) Es The Observer Jewellery Exhibition (organised by th e Welsh Arts Council)

A30 Table I Contemporary music network and `Stopover' seasons

Contemporary music network -1973/74 tours

Composers Quartet : Bishop's Stortford ; Cambridge. Fires of London : Blackburn ; Bristol ; Carlisle ; Dartington ; Durham ; Liverpool ; Manchester ; Newcastle ; Warwick. Jane Manning, Brian Hawkins and John Constable Plymouth ; Sheffield ; Southampton ; Sunderland ; Warwick . John Alldis Choir : Bangor ; Carlisle ; Keele ; Lancaster ; Leeds ; Liverpool ; Newcastle ; Sunderland ; York. London Jazz Composers Orchestra : Bristol ; Leeds ; Manchester ; Sunderland. London Sinfonietta : Bangor ; Birmingham ; Bradford ; Bristol ; Carlisle; Dartington ; Guildford ; Hull ; Lancaster ; Manchester ; Newcastle ; Southampton . Margaret Price and James Lockhart : Bangor ; Lancaster . Matrix : Carlisle ; Manchester; Sheffield; Sunderland ; Warwick . Mike Gibbs Band : Birmingham ; Norwich ; Oxford. Nash Ensemble : Abbotsholme; Ashington ; Bridgwater; Brighton ; Canterbury ; Liverpool ; Manchester; Newcastle ; Plymouth ; Scunthorpe. Nucleus : Bridgwater ; Leeds ; Liverpool ; Manchester ; Newcastle ; Plymouth . Steve Reich : Aberdeen; Brighton ; Durham ; Manchester; St Andrews . Vesuvius Ensemble : Plymouth ; Southampton .

`Stopover' fringe and experimental seasons

Groups and individuals participating in the 1973/7 4 seasons at Birmingham, Liverpool, Manchester, an d Adrian Henri and Sticky George Newcastle included the following : The Combination Limite d Crowd Theatr e Emil Wolk The General Will Hull Truck Theatre Company Incubus Theatre Company John Bull Puncture Repair Ki t John Dowie Joint Stock Theatre Grou p Landscapes and Living Spaces London Theatre Grou p The New Roadshow Nice Pussy Production s Paradise Foundry Limite d The People Sho w The Phantom Captai n Sal's Meat Market 7 :84 Theatre Company Strider Welfare Stat e

A31

The Arts Council of Great Britai n

Revenue and expenditure account for the year ended 31 March 1974

1972173 - -

10 371,035 General expenditure on the arts in England (see Schedule 1) - 13,076,68 2

5221 134 General operating costs in England (see Schedule 2) 682,17 7

83,777 Capital expenditure transferred to capital account 41,090

5,048 Reserve for capital expenditure 5,082

1,425,500 Grant to Scottish Arts Council 2,179,000

994,351 Grant to Welsh Arts Council 1,557,930

236,500 Grant to Fanfare for Europe Committee -

452,274 Balance carried down -

£ 14,090, 619 £17,541,96 1

- Balance brought down 205,75 4

598,227 Balance carried forward to Balance Sheet 392,47 3

£598,227 £598,227

A32

1972/73 £ £ £ 13,725,000 Grant in Aid : H. M. Treasury 17,388,000 Less : Withheld by Department of Education and Science 250,000 17,138,000

236,500 Fanfare for Europe : H. M. Treasury

79,515 Provision for grants and guarantees in previous year not required 103,43 1

Transfer from Reserve for capital expenditure -- - 51048 -- - - 11,679 - Sundry receipts - 2,100 Donations -- - - Interest: bank and investments - 79,383 Realization of assets 6,683 - Miscellaneous 1,562 - 37,925 89,728

- Balance carried down 2051734

£14,090,619 £17,541,961

7 145,953 Balance brought forward at 1 April 1973 598,22 _ 452,274 Balance brought down

£59® £598,227

A33

The Arts Council of Great Britai n

Balance sheet as at 31 March 1974

Liabilities 1973

Capital account Balance as at 31 March 197 3 503,291 Add: Capital expenditure during year transferred from Revenue and expenditure accoun t 41,090 544,38 1 Less: Book value of assets sold or written off during year 9,334 503,291 535,04 7

£503,291 Carried forward £535,047

A34

Assets 1973 _

Leasehold 105 Piccadilly Improvements at cost as at 31 March 1973 37,592 _ Improvements during year at cost 2,332

Improvements at cost as at 31 March 1973 43,603 Improvements during year at cost 264 _

28 Sackville Street Improvements at cost as at 31 March 1973 27,284 Less: amount overprovided in previous year 193 27,091 108,479 110,88 2

Office equipment At valuation as at 31 March 1956 and additions a t cost less items sold or written off to 31 March 1973 55,398 Additions at cost 9,965 65,363 Less : items sold or written off 1,131 _ 55,398 64,232

At cost as at 31 March 1973 8,647 Additions at cost 4,087

Less: items sold or written off 1,956 8,647 10,778

- Cello 100Atvaluation as at 31 March

Concert hall equipment At valuation as at 31 March 1956 and additions at cost less items sold or written off to 31 March 1973 13,009 Additions at cost 3,387 13,009 16,396

Curtains and costumes 73,250 Diaghilev and de Basil Ballets - at cost 73,250

Art exhibition equipmen t At valuation as at 31 March 1956 and additions at cost less items sold or written off to 31 March 1973 15,677 Additions at cost 2,280 _ 17,957 _ Less: items sold or written off 147 15,677 17,810

£274,560 Carried forward £293,448

A35

Balance sheet (continued)

Liabilities (continued ) 1973 £ £ £ 503,291 Brought forward 535,04 7

598,227 Revenue and expenditure account 392,473

165,679 Special funds (see Schedule 6) 174,227

18,497 Reserve for special art projects 62,744

746,624 Grants and guarantees outstanding 1,048,570

5,048 Reserve for capital expenditure 5,082

- Reserve for indemnity 5,000

Credit balances Sundry creditors and accrued liabilities 272,58 5 Due to Welsh Arts Council 800 263,132 273,385

Notes: 1.No provision has been made for depreciation of assets : renewals are charged to Revenue . 2. At 31 March 1974, 28 Sackville Street was occupied under licence pending completion of the leasehold agreement . 3. At 31 March 1974, indemnities entered into by the Arts Council of Great Britain in respect o f objects borrowed for exhibition purposes totalled not more than £2,066,000.

Chairman : R. P. T. Gibson Secretary-General : Hugh Willatt

£2,300,498 £2,496,52 8

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation s 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 Britai n and the state of their affairs . Signed: D. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 22nd July 1974

A36

Assets (continued) 1973 £ £ £ 274,560 Brought forward 293,448

Works of art At cost as at 31 March 1973 222,63 1 Additions at cost 18,968 , 222,631 241,599

Reproductions At valuation as at 31 March 1973 6,100 Less: items written off 6,100 6,100 - 503,291 535,047

165,679 Special funds (see Schedule 7) 174,227

Loan to associated organisation Secured by mortgage : Balance as at 31 March 1973 1,625 Less: repayable during year 125 1,625 1,500

Investments 4j % British Electricity guaranteed stock 1974/79 (Market value £1,994) 2,419 5 % Treasury stock 1986/89 (Market value £338) 647 Equities investment fund for charities (Market value £_5, 3. 59) 3,082 6,148 6,148

1,221,243 Grants and guarantees paid in advance 1,176,510

Restaurant and bar stocks 1,046 Publications stocks 69,929 982 70,975

Debit balance s Sundry debtors and prepayments 264,554 Due from Welsh Arts Council 200,000 Expenditure on future exhibitions in preparation 16,293 266,652 480,847

Cash On current account 49,349 On dollar account 28 Imprests _ 1,781 In hand 11 6 134,878 51,274

£2,300,498 _ £2,496,52 8

A37

The Arts Council of Great Brit~ii n

Schedule 1 General expenditure on the arts in England for the year ended 31 March 197 4

£ £ £ £ The Royal Opera, Sadler's Wells Opera, the Royal Ballet , National Theatre and Royal Shakespeare Companies (see Schedule 3) 4,195,534

Music Grants and guarantees (see Schedule 3) 1,936,979

Opera for All : Expenditure 30,144 Less : Revenue 11,395 Less : VAT 954 10,441 19,703 Wigmore Hall : Expenditure 36,459 Less : Revenue 19,351 Less : VAT 114 19,237 17,222 Less: surplus on Wigmore Hall catering 1,511 15,711 1,972,393

Drama Grants and guarantees (see Schedule 3) 2,554,373 Scheme expenses 1,931 2,556,304

Theatre Invest - ment Fund 50,000 Touring (see Schedule 5) 872,36 7

Art Grants and guarantees (see Schedule 3) 220,22 2 Net cost of exhibitions (see Schedule 4) 373,802 Hayward Gallery 100,68 2 Serpentine Gallery 10,005 704,71 1

Art film tours : Expenditure 14,462 Less : Revenue 5,487 Less: VAT 499 4,988 9,474 Art films: Expenditure 68,668 Less : Revenue 7,083 Less: VAT 644 6,439 62,229 Work in Schools 274 776,688 Carried forward £10,423,286

A38

Brought forward 10,423,286

Literature Grants and guarantees (see Schedule 3) 133,584 2,644 Poetry library - --- Writers' tours and writers in schools _ 5,550 _ New Poetry Anthology 4,500 _ ------146,27 8

Festivals Grants and guarantees (see Schedule 69,628

Arts associations Grants and guarantees (see Schedule 3 ) 1,416,285

Arts centres and regional projects Grants and guarantees (see Schedule 3) 265,90 5

Transport subsidy Grants (see Schedule 3) 590

Education in the arts Grants and guarantees (see Schedule 3) 136 445 Arts administration trainin g (Polytechnic School of Management Studies administration) 12,600 149,04 5

Publications Expenditure, including operating costs 69,115 Less: Revenue: Gallery Bookstalls - - 23,166 Arts Council Shop 16,970 _ 105 Piccadilly 16,142 - -- 56,278 Less: VAT 2,328 53,950 _ 15,165

Housing the arts Grants (see Schedule 3) 590,500

Net expenditure as per Revenue and expenditure account £13,076,68 2

A39

The Arts Council of Great Britain

Schedule 2 General operating costs in England for the year ended 31 March 1974

£ £ Salaries and wages : Music 41,448 Drama 41,377 Art 50,518 Literature 11,969 Regional 38,287 Finance 69,902 Administration 102,09 7 355,59 8 Superannuation 82,916 438,51 4

Travelling and subsistence 25,965

Rent and rates 96,460

Fuel, liLrh? and house expense s 32,010

Publici,y ir.dentertainment 19,108

Postage and telephon e 20,288

Stations-ry and printing 19,637

Profession,! fees 2,149

Office and sundry expenses 24,068

Enquiries, surveys and investigations 3,978

Total a, ! _ r Re%<, i and expenditure account £682,177

A40

The Arts Council of Great Britain

Schedule 3 Grants and guarantees for the year ended 31 March 1974 (including subsidies offered but not paid at that date )

Royal Opera House, Covent Garden Limited 2,195,000 Sadler's Wells Trust (Coliseum) Limited 1,130,000 National Theatre Board 450,53 4 420,000 Royal Shakespeare Theatre - - Total as per Schedule I £4,195,53 4

Music Opera English Opera Group Limited _ 72,500 New Opera Company Limited -_ 21,000 _ Basilica Productions Limited _16,500_ Regional Opera Trust Limited (Kent Opera) 15,500 Handel Opera Society 7,500 London Opera Singers Limited (London Opera Group) 5,000 Opera Players Limited 2,000 Intimate Opera Society Limited 1,750 University College London Music Society 1,200 Opera da Camera Limited 1,000 Nice Pussy Productions 700 Castle Opera 500 Sacred Music-Drama Society _300__ _ University College London Operett a-Society__ - 25.0 - Kentish Opera Group 100 75 Tunbridge Wells Opera - - -- 145,87 5

Dance London Festival Ballet Trust Limited 185,000 Mercury Theatre Trust Limited (Ballet Rambert) 115,000 _ Contemporary Dance Trust Limited _ 70,000 Northern Dance Theatre Limited 41,500 Ballet for All 34,000 Educational Dance-Drama Theatre Limited 6,000 Dance for Everyone Limited 5,000 Strider Dance Events 5,000 Sephiroth Dance Theatre 550 Dance Compendium 350 The Hoofers 300 Computer Arts Society 175 Nonsuch - 150 - - - 463,02 5

Carried forward £608;t)00

A41 Schedule 3 (continued)

Broughtforwar d 608,900 Music (continued) Orchestras London Orchestral Concert Board Limite d 299,51 8 Western Orchestral Society Limite d 190,000 City of Birmingham Symphony Orchestra 135,000 Ha116 Concerts Society 135,000 Royal Liverpool Philharmonic Societ y 130,50 0 Northern Sinfonia Concert Society Limited 52,000 Eastern Authorities Orchestral Association 29,000 South East Region Orchestral Concerts : Folkestone Corporation 4,250 Eastbourne County Borough Counci l 3,950 Medway Towns Joint Committee for Arts and Entertainment 3,500 Hastings County Borough Counci l 3,363 Guildford Corporation 3,000 Dorking Urban District Council 2,650 Bexhill Corporation 1,656 22,369 Haydn-Mozart Society 11,000 Midland Sinfonia Concert Society Limited 7,500 Brighton Philharmonic Society Limited 7,000 Bristol Sinfonia Limite d 3,500 Robert Mayer Concerts Society Limite d 1,500 Thames Concerts Society 1,100 Cheltenham Chamber Orchestra Association 550 Polyphonia Limited 100 1,025,637 Concerts National Federation of Music Societies 110,000 London Orchestral Concert Board Limited 46,000 Jazz Centre Society Limited 8,550 Park Lane Group Limited 4,750 Macnaghten Concert s 2,250 Kentjazz 1,500 Lambeth New Music Society 1,422 Summer School of Music Limited 1,250 University of Surrey 1,250 Musicians Cooperative 1,000 Music No w 1,000 Jazz Advance 760 National Trust Concerts Society Limited 500 Spectrum Society for Contemporary Music 450 University of Kent at Canterbury 400 Band Promotions Limited 300 Globe Playhouse Trust Limited 282 London Jazz Composers' Orchestra 275 100 Club 250 Jazz at Henri's 200 Digswell Arts Trus t 100 Canterbury Arts Counci l 3 1 Society for the Promotion of New Musi c 25 182,545 Carried forward £ 1,817,08 2

A42

Brought forward 1,17082 Music (continued) Festivals Aldeburgh Festival Association 7,500 _ Boxhill Music Festival Society 60 _ _ Cambridge Festival Association 1 1500 Cheltenham Arts Festivals Limite d 71500 Great Horwood Arts Circle 186 Haslemere : The Dolmetsch Foundation 1,000 _ London : Camden Borough Council 5,000 _ Norfolk and Norwich Triennial Festiva l 7,000 Oxford : English Bach Festival Trust 10,500 _ St. Albans : International Organ Festival 1,000 _ Stour Music Committee 400 Three Choirs Festival Association 4,000 Tilford Bach Society 1,050 Wooburn Festival Society 175

Other activities Awards to Artists Youth and Music Limited Pianos : Southport Arts Centre 21275 Birmingham and Midland Institute 2,040 University of Southampton 1,800 _County Borough of Reading 1 1000 _ _ University of Keele 1,000 _ 8,11 5 _ Sadler's Wells Foundation _ 7,500 _ British Council (Recordings) 5,000 Music Information Centre Trust _ 2,000 _ Contemporary Concerts Coordination 500 National Music Council of Great Britain 225 Compatible Recording and Publishing Limited _ 150 Talbot Lampson School for Conductors and Accompanists 100 _ Brighton Museum and Art Gallery 49

Total as per Schedule 1 £1,936,979

A43

Schedule 3 (continued)

Drama Billingham Forum Theatre 19,400 Birmingham : Alexandra Theatre (Birmingham) Limited 15,500 Birmingham Repertory Theatre Limite d 121,200 Bishop's Stortford : Spectrum Theatre Trust Limited 3,000 Bolton : Octagon Theatre Trust Limited 41,900 Bristol Old Vic Trust Limited 110,945 Bromley : Churchill Theatre Trust Limited 6,000 Cambridge Theatre Company Limite d 38,05 0 Canterbury Theatre Trust Limite d 22,500 Cheltenham Everyman Theatre Comnany Limited 31,900 Chester : Gateway Theatre Trust Lim te d 22,500 Chesterfield Civic Theatre Limite d 16,200 Chichester Festival Theatre Producu~ . ns Company Limite d 10,000 Colchester Mercury Theatre Limite d 49,50 0 Coventry : Belgrade Theatre Trust (( nventry) Limited 73,95 0 Crewe Theatre Trust Limited 23,78 0 Derby Playhouse Limited 28,56 0 Exeter: Northcott Devon Theatre and Arts Centre 49,94 0 Farnham Repertory Company Limite d 25,400 Guildford : Yvonne Arnaud Theatre Management Limited 34,600 Harrogate (White Rose) Theatre Trust Limited 35,68 5 Homchurch Theatre Trust Limited 34,400 Ipswich Arts Theatre Trust 34,000 Lancaster : The Duke's Playhouse Limited 45,05 0 Leatherhead : Thorndike Theatre (Leatherhead) Limite d 46,400 Leeds: Interplay Trust 3,26 0 Leeds Theatre Trust Limited 71,308 Leicester Theatre Trust Limited 78,65 4 Lincoln Theatre Association Limited 36,05 0 Liverpool : Merseyside Everyman Thcatre Company Limite d 3;; .t Liverpool Repertory Theatre Lingc d 74 . i London : Camden Playhouse Pi odt, .,t urns Limite d 2 Caryl Jenner Productions Livmo' ! 3h .- , English Stage Company Limitc d 137. '- ; Greenwich Theatre Limite d 28,o - Hampstead Theatre Club Linntc J .: Inter-Action Trus t 28 t , w Mermaid Theatre Trust Limite d 45 National Youth Theatr e 17. New Shakespeare Company Lln itc d 3, + Pioneer Theatres Limite d 46, y Polka Children's Theatre Limit -, i 5,y .. Theatre Centre Limited 32,11, 1 Manchester : Sixty Nine Theatre c ( r,pany Limite d Manchester Young People's The, : , - c Limited Newcastle-upon-Tyne : Tyneside 'i l :.titre Trust Limited 41 .4 .. Northampton Repertory Players Limsited Nottingham Theatre Trust Limitc c Oldham Repertory Theatre Clu b Oxford: Meadow Players Limite d 5 -. Plymouth Theatre Trust Limited Richmond Theatre Productions I , Le d Carried forward £2,005 .

A44

Brought forward _ 2,005,545 Drama Salisbury Arts Theatre Limited 30,642 (continued) Scarborough Theatre Trust Limited 7,000 Sheffield : Crucible Theatre Trust Limited 115,096 Southend : Palace Theatre Trust (Southend & Westcliff) Limited _ 5,500 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 41,764 _ Watford Civic Theatre Trust Limited 25,900 Worcester Arts Association (S .A.M .A.) Limited _ 19,200 Worthing and District Connaught Theatre Trust Limited 24,000 York Citizens' Theatre Trust Limited 46,297

Actors Company Productions Limited _ 160 Alternative Theatre Company _ 5,800 The Basement Theatre Limited 4,375 Black Grass Theatre Company 400 Bradford Art College Theatre Group 2,900 Bubble Theatre Company Limited 10,160 Cartoon Archetypal Slogan Theatre 250 The Combination Limited 14,250 Common Stock Theatre Company Limited 1,400 Community Theatre 2>400 Crowd Theatre 2,380 The Dark and The Light Theatre Limited _ 410 Darlington Corporation 500 Everyman Theatre Company 560 Foco Novo Productions 1,650 Forestage Company 160 The Freehold Theatre Company Limited 150 Friends Roadshow 6,500 Galactic Smallholdings Limited 13,000 Gbakanda Theatre Company 400 The General Will 2,850 The Half Moon Theatre Limited 8,350 Hull Truck Theatre Company 1,860 Incubus - 1,700 400 Inna Circle - - -- Jack 750 Jean Pritchard Management Limited 400 John Roche Productions 3,855 Joint Stock Theatre Company 1,250 King's Head Theatre Productions Limited 5,000 London Theatre Group 7,200 - Medium Fair 1,01 0 Mikron Theatre Company 750 Mokadi Productions Limited _ 1,120 Moloch Productions Company 433 M.S. Productions 1,200 Natural Theatre Company 5,104 The New Company 160 The New Roadshow 6,600

Carried forward £2,438,74 1

A45

Schedule 3 (continued)

Brought forward 2,438,74 1 Drama The Off Fringe Theatre 400 (continued) Oval House 150 Paradise Foundry Limited 11,650 Pilk's Madhouse Compan y 2,000 Pucka Ri 265 Quipu Productions Limited 2,790 The Raree Show 650 R.A.T. Theatre 1,500 Recreation Ground Theatre Company 2,180 Red Ladder Theatre 4,250 Richmond Fringe Limited 4,480 7 :84 Theatre Compan y 650 Soho/Poly Theatre Club 7,950 Southtown Theatre Limite d 400 Theatre North 1,200 Triple Action Theatre Grou p 1,500 Tube Theatre 162 Vista Plays Limited 400 Wakefield Tricycle Company 3,184 West London Theatre Workshop 2,740 Word and Action 1,000 W.S.G. Productions Limited 650 Yeats Theatre Company 250

Association of British Theatre Technicians 18,650 British Centre of the International Theatre Institut e 500 British Theatre Associatio n 8,750 Commission for a British Theatre Institute 1,000 Council of Regional Theatre 500 National Council of Theatre for Young People 425 Society for Theatre Researc h 175 Theatres' Advisory Counci l 1,650

Bursaries 33,58 1

Total as per Schedule 1 £2,554,37 3

A46

Art Bath : Holburne of Menstrie Museum 650 Birmingham : Ikon Gallery Limited 10,500 Bristol: Arnolfini Gallery Limited 15,000 Chester Arts and Recreation Trust 500 Colchester : Victor Batte-Lay Trust 750 London: Action Space 6,500 Art Information Registry Limited 51770 Artist Placement Group Research Limited 4,500 Greenwich Theatre Art Gallery 1,100 The Morley Gallery 1,100 Photographers' Gallery Limited 6,500 Printmakers' Council 200 Space Provision (Artistic, Cultural & Educational) Limited 5,500 UK National Committee of the International Association of Art 400 Whitechapel Art Gallery 13,000 Newlyn Society of Artists 1,250 Nottingham : Midland Group Gallery 14,000 Oxford: Modern Art Oxford Limited 12,700 Penwith Society of Arts 1,750

Audio Arts 300 COUM 1,500 Gasp _ 1,500 Jack 1,150 John Bull Puncture Repair Kit 7,000 Landscapes and Living Spaces 2,600 Lumiere and Son 750 Myriad Event Structures 500 Nice Style 635 Phantom Captain 2,000 Situations and Real Lifescapes 200 Zoom Cortex 200 120,005

Grants and guarantees towards exhibition s Birmingham : City Museum and Art Gallery : Birmingham Assay Office Bi-Centenary 1,000 Boston : Blackfriars Theatre Limited : Events by Action Space 175 Brentwood: Urban District Council of Brentwood : Events by Action Space 175 Brighton Polytechnic : Posters 500 Recent Kinetics 425 Bristol City Art Gallery : The Bristol School of Artists, Francis Danby and Painting in Bristol 1810-1840 450 Cambridge: Kettle's Yard Gallery : Elisabeth Frink 300 Durham : DLI Museum and Arts Centre : Events by Spaceplace and the Lacey family 675 Eccles : Monks Hall Museum : Alexander Nasmyth and his Family 200

Carried forward £3,900 £120,005

A47

Schedule 3 (continued)

£ £ Brought forward 3,900 120,00 5 Art (continued) Grants and guarantees towards exhibitions (continued) Exeter : University of Exeter : Sculpture by Barbara Hepworth 200 Hastings : Victor Musgrave Gallery : Fluxshoe 21 5 Jarrow: Bede Gallery: Series of exhibitions and events 900 Kendal and District Arts Centre : Series of events 600 Liverpool : City of Liverpool Museums : `Observer' Jewellery 350 Walker Art Gallery : Magic and Strong Medicine 2,250 London : Angela Flowers Gallery Limited : Penelope Slinger 150 Derek Boshier 500 The Building Centre Trust : Walter Gropius - Buildings, Plans and Projects 1909-1969 500 The Contemporary Portrait Society : Anglo-French Contemporary Portraits 250 Expanded Cinema Events Committee 1,100 Garage Art Limited : Graham Snow 245 Geffrye Museum : Interplay Structure event 200 Globe Playhouse Trust Limited : Summer Sculpture 200 The London Group 600 Lucy Milton Gallery : Allen Barker 150 Norman Dilworth 500 Malcolm Hughes 150 New Contemporaries Association 800 The Slade School of Fine Art : Jack Smith 200 Loudwater : The Reyntiens Trust : European Visual Poetry 100 Manchester : Whitworth Art Gallery : Northern Young Contemporaries 1973 500 Newcastle-upon-Tyne : University of Newcastle-upon -Tyne : Russian Constructivism Revisited 1 1000 Norwich : Castle Museum : Henry Bright 1814-1873 350 Nottingham : Midland Group Gallery : Midland Seen . . . . and other views (contemporary photography) 600 Oxford Gallery Limited : Present Impressions 250 Reading: University of Reading : Claude Rogers 1,900 Sheffield City Museum : Sheffield Silver 1773-1973 750 Sheffield: Graves Art Gallery : Colour Space Village event 400 Sunderland Arts Centre : Aerial Structures 2,000 Events by Jules Baker, Rosie Antrobus and the Lacey family 400 Tynemouth Community Development Project : Events by The Welfare State 400 Warwick Gallery : Al Roy-Paintings 88 Welwyn Garden City : Digswell Arts Trust : Henry Morri s and the Digswell Experiment 500 Whitley Bay : Spectro Arts Workshop : Series of events 750 Wolverhampton Art Gallery and Museums : Ten Artists 200 York : Impressions Gallery of Photography : Cecil Beaton 300 24,448

Carried forward £144,45 3

A48

Brought forward 144,45 3 Art (continued) Works of art for public building s Leicester Corporation (Haymarket Theatre project) 1,500 Leicestershire Education Department (Burleigh and Lutterworth Community Colleges) 600 London : Globe Playhouse Trust Limited 475 Morley College 1,000 North Kensington Amenity Trust 500 St. Thomas'_ Hospital 2,500 Margate : Borough of Margate Public Libraries 500 Nottingham University Hospital 9,000 Warwick University 625 16,700

Provision of studios Borlase Smart Memorial Trust 2,000 Space Provision (Artistic, Cultural and Educational) Limited 9,959 11,959

Awards to artists 40,110

Birmingham City Museum and Art Gallery _ 200 Burnley: County Borough of Burnley : Towneley Hall Art Gallery and Museum _ 500 Carlisle Public Library, Museum and Art Gallery _ 500 _ Chester Arts and Recreation Trust : Chester Arts Centre 500 Durham County Council : The Bowes Museum 500 Ipswich Museums and Art Galleries 500 Keighley : Borough of Keighley Art Gallery and Museum_ 500 Liverpool : Bluecoat Gallery 500 _ London Geffrye Museum_ 500 Oval House 500 Newcastle-upon-Tyne : Calouste Gulbenkian Gallery l .)u Norwich School of Art 500 Oxford : Modern Art Oxford Limited 500 Southam tp on : The Photographic Gallery 350 Truro : Royal Institution of Cornwall 300 Warwickshire County Council : Warwick County Museum 500 7,000

Total as per Schedule 1 £220,222

A49

Schedule 3 (continued )

£ f- Literature Apollo Society Limite d 700 International P .E.N. 2,300 London : Centerprise Trust Limited 2,000 The Globe Playhouse Trust Limite d 500 London Library 5,000 National Book League 12,500 National Manuscript Collection of Contemporary Writers Fun d 1,754 The Poetry Book Society Limite d 10,500 The Poetry Society 18,750 The Society of Authors 300 Society of Barrow Poet s 600 Wooburn Festival Society 30 54,934

Literary Magazines `Agenda' 2,600 `Ambit' 1,950 `Index ' 1,000 `The London Magazine ' 3,000 `Modern Poetry in Translation' 2,000 `The New Review ' 12,500 `Theatre Quarterly ' 500 23,550

Little Presses Arc Publication s 350 Anvil Press Poetry 2,000 Carcanet Press Limite d 2,000 Latimer New Dimensions Limited 2,000 Trigram Press Limited 2,000 Writers Forum 200 8,550

Help for Writers and Publishers Grants to writers 41,500 Grants to translators 500 Grants to publishers 4,550 46,550 Total as per Schedule 1 £133,584

A50

Festivals Bath Festival Society Limited 7,500 Battle Festival Society Limited 254 Bletchley Pageant 350 Brighton Festival Society Limited 7,500 Chester Festival of the Arts 4,500 Croydon Arts Festival Committee 4,500 Guildford Festival 1,400 Harrogate Festival of Arts & Sciences Limited 7,000 King's Lynn : St. George's Guildhall Limited 7,000 Little Missenden Festival Committee 546 London : Globe Playhouse Trust Limited 3,000 Ludlow Festival Society Limited 3,750 Manchester Festival 2,500 Newcastle-upon-Tyne Festival 6,000 Portsmouth Festival Society Limited 1,128 Rye Festival Council 250 Salisbury Festival of the Arts 2,200 Stroud Festival,Limited 2,750 York Festival Committee 7,500

Total as per Schedule 1 £69,628

A51 Schedule 3 (continued )

Arts Eastern Arts Association 55,440 Associations East Midlands Arts Association 64,650 Greater London Arts Association 159,85 0 Lincolnshire Association 45,026 Merseyside Arts Association 51,565 Mid-Pennine Association for the Arts 4,800 Northern Arts 287,780 Leisure Project in Sunderland 50,000 337,78 0 North West Arts Association 160,952 Southern Arts Association 93,665 South East Arts Association 8,500 South Western Arts Association 115,45 3 Bristol Marketing Project 20,000 135,45 3 West Midlands Arts Association 112,77 8 Leisure Project in Stoke-on-Trent 50,000 Birmingham Marketing Project 20,000 182,778 Yorkshire Arts Association 95,826 Sheffield Marketing Project 20,000 115,82 6

Total as per Schedule 1 £1,416,28 5

Arts Centres Birmingham : Cannon Hill Trust Limited 66,050 &.Regional Bracknell : South Hill Park Trust Limited 9,230 Projects Folkestone : New Metropole Arts Centre Limited 4,500 Harlow Theatre Trust Limited 15,000 Hastings : Stables Trust Limited 600 Hemel Hempstead Arts Centre 200 Hull Arts Centre Limited 16,975 Liverpool : Great Georges Community Project Limited 6,500 London : Community Arts Group 2,000 Institute of Contemporary Arts Limited 50,000 Round House Trust Limited 17,500 Task Force 500 Peterborough Arts Theatre Limited 12,000 Sunderland Arts Centre 300 Sussex University : Gardner Centre for the Arts 10,550 Swindon : Wyvern Arts Trust Limited 12,000 Lighting boards : Bath Theatre Royal 3,500 Moss Empires Limited (Birmingham Hippodrome) 10,000 (Bristol Hippodrome) 10,000 Newcastle-upon-Tyne City Council (Theatre Royal) 15,000 Theatre Royal (Norwich) Trust Limited 3,500

42,000 Total as per Schedule 1 £265,905

A52

Transport East Grinstead : Myles Byrne Projects Limited (Adeline Genee Theatre) 40 Subsidy Farnham Repertory Company Limited 150 Leatherhead : Thorndike Theatre (Leatherhead) Limited 400

Total as per Schedule 1 £590

Education in Music - --- i - - -- - the Arts London Opera Centre for Advanced Training and Development Limite d 60,000 National Youth Orchestra of Great Britai n 20,000 Benesh Institute of Choreology Limited 17,000 Central Tutorial School for Young Musicians Limited 6,000 Rehearsal Orchestra _ 1,500 104,500

Drama _ National Youth Theatre 7,500 _ Bristol Old Vic Trust Limited 4,500 East 15 Acting School Limited 3,500 _ Drama Centre London Limited 2,000 17,500

- Arts administration training (Bursaries) 14,445

Total as per Schedule 1 £136,445

A53

Schedule 3 (continued)

Housing Music The Arts Birmingham : Moss Empires Limited (Hippodrome Theatre) 17,000 Bradford Corporation (Alhambra Theatre) 17,000 Brighton : Theatre Royal,_ Brighton (Stage Plays) Limited 1,000 London : Sadler's Wells Trust (Coliseum) Limite d - 7,300 -- Newcastle-upon-Tyne City Council (Theatre Royal ) 20,000 Newcastle-upon-Tyne Northern Sinfonia Concert _ Society Limited (rehearsal hall) 12,000 Southwark Rehearsal Hall Limited 25,000 - Wolverhampton : The Grand Theatre Wolverhampton Limited 5,000 104,300

Drama - Burnley : Galactic Smallholdings Limite d 2,200 Cambridge Arts Theatre Trust _ 1,000 Derby Corporation (New Playhouse) - 130,000 Farnham Repertory Theatre Trus t 25,000 Guildford : Yvonne Arnaud Theatre Trust _ 4,000 - Hornchurch : Havering Borough Counci l (Queens Theatre) _ - -- 60,000 Oldham Repertory Theatre Clu b 27,500 - - - Worcester Arts Association (S .A.M.A.) Limited 12,500 262,200

Art Bristol : Arnolfini Gallery Limited 10,000 Cambridge : Fitzwilliam Museum - 24,000 - Kendal : The Lake District Art Gallery Trust -- 6,000 - Manchester : Peterloo Gallery Limite d 1,250 41,250

Arts Centres Birmingham Arts Association (Trinity Arts Centre ) 3,500 Birmingham : Cannon Hill Trust Limited - 10,000 Bishop's Stortford : Hertfordshire & Essex Malthouse Trust Limited 6,500 Boston : Blackfriars Theatre Limited 2,000 Bridgwater and District Arts Guild 500 Frome Grammar School 13,000 Kendal : Lake District Theatre Trust Limited 3,500 London : Round House Trust Limited 20,000 Manchester : North West Arts Association 3,000 Melton Mowbray College of Further Educatio n 10,000 Newark &Nottinghamshire Arts & Leisure Foundation 14,000 Oldham County Borough Council (Grange Arts Centre_)_ 30,000 Rosehill Arts Trust Limited 3,000 Saddleworth Players 750 Shoreham Youth Workshop 2,500 --

Carried forward £122,250 £407,750

A54

Brought forward 122,250 407,750

Housing Arts Centres (continued ) The Arts Skegness : East Lincolnshire Arts Centre Limited 5,000 (continued) Southport Corporation (Cambridge Halls) 25,000 Stamford Arts Centre Committee 5,000 Sunderland Arts Centre 5,000 Tewkesbury Borough Council (Theatre/Cinema) 7,500 Torrington Drill Hall Conversion Project Steering Committee 12,000 -- Watford : The Pump Nouse Theatre & Arts Centre 1,000 182,75 0

Total as per Schedule 1 £590,500

A55

The Arts Council of Great Britai n

Schedule 4 Net cost of exhibitions for the year ended 31 March 1974

£ £ £ Expenditure

Transport 102,73 5

Organising 247,04 5

Insurance 17,21 0

Catalogues 77,198

Publicity 48,678 492,866

Less : Revenue

Admissions 65,608 Less: VAT 5,955 59,653

Catalogue sale s 51,742

Exhibition fees 8,436 Less : VAT 767 7,669 119,06 4

Net expenditure as per Schedule 1 £373,802

A56

The Arts Council of Great Britain

Schedule 5 Touring Grants and guarantees for the year ended 31 March 197 4

Music Scottish Opera Limited 157,60 0 Welsh National Opera Company Limited 143,00 0 Glvndebourne Productions Limited 81,000 Phoenix Ooera Limite d English Opera Group Limited 28,500 New London Ballet Company Limited 15,000 Contemporary Dance Trust Limited 10,000 Scottish Theatre Ballet Limited 9,350 Northern Dance Theatre Limited 2,635

Drama Prospect Productions Limited 110,000 _ Actors Company Productions Limited 91,000 New Shakespeare Company Limited 19,405 Triumph Theatre Productions Limited 10,700 7:84 Theatre Company 10,000 The Dark and The Light Theatre Limited 6,200 Royal Shakespeare Theatre 4,727 Joint Stock Theatre Company 41000 V Theatre 2,995 Tyneside Theatre Trust Limited 2,235 English Stage Company Limited 1 1320 Yvonne Arnaud Theatre Management Limited 1,250 Manchester University Theatre 1,100 Birmingham Arts Laboratory Limited 1,005 Merseyside Everyman Theatre Company Limited 980 Birmingham Repertory Theatre Limited 920 Temba Theatre Company Limited 670 Moving Being 600 Alternative Theatre Company 500 Theatre Roundabout Limited 300 National Theatre Board 300 270,207

Theatres Myles Byrne Projects Limited (Adeline Genee Theatre) 2,500 Richmond Theatre Productions Limited 2,500 Scunthorpe Borough Council (Civic Theatre) 2,000 7,000

forward

A57

Schedule 5 (continued)

- Broughtforward 802,292

Add: Cost ofadministration Fees, salaries and wages 19-190 _ Travelling and subsistence - 4,161_ Publicity 66,038 _ Postage and telephone 393 Stationery and printing 200 Office and sundry expenses 261 Theatre surveys 3,342 93,585 895 877

Less: Revenue City and County ofNewcastle-upon-Tyn e 12,000 _ _ _ _City of Manchester 5,000 City of Bradford 3,000 East Midlands Arts Associatio n 2,500 City of Leeds - 500 South Western Arts Associatio n 500 Northumberland and Tyneside Social Service 10 23,510

Net expenditure as per Schedule 1 £872,367

A58 The Arts Council of Great Britain

Schedule 6 Special funds as at 31 March 1974

H. A. Thew Fund Capital account 7,773 Income account : Balance as at 31 March 1973 678 Add: Income during year 633 1,31 1 Less : Expenditure during year 175 1,136 8,909

Mrs Thornton Fun d Capital account 5,124 Income account : Balance as at 31 March 1973 540 Add: Income during year 805 1,345 Less : Expenditure during year 900 445 Creditors 303 5,872

National Manuscript Collection of Contemporary Writers Fun d Capital account 10,000 Income account : Balance as at 31 March 1973 1,357 Add: Income during year 2,773 4,130 Less : Expenditure during year 1,869 2,261 12,261

Compton Poetry Fund Capital account 21,205 Income account : Balance as at 31 March 1973 5,435 Add: Income during year 2,185 7,620 Less: Expenditure during year 1,000 6,620 27,815--

A59

Schedule 6 (continued)

Brought forward 54,867

Henry and Lily Davis Fun d Capital account 60,000 Income account : Balance as at 31 March 1973 14,454 Add: Income during year 5,490 19,944 Less : Expenditure during year 7,493 12,451 Creditors 1,450 73,901

The Guilhermina Suggia Gift Capital account 9,991 Income account : Balance as at 31 March 1973 183 Add: Income during year 3,625 3,808 Less : Expenditure during year 629 3,179 Creditors 175 13,345

The Miriam Licette Scholarship Capital account 18,647 Income account : Balance as at 31 March 1973 1,184 Add: Income during year 1,383 2,567 Less : Expenditure during year 101 2,466 Creditors 665 21,778

Dio Fund Capital account 2,000 Income account : Balance as at 31 March 1973 27 Add: Income during year 112 139 2,139

Miss O. E. Saunders Fun d Capital account 7,100 Income account : Balance as at 31 March 1973 855 Add: Income during year 242 1,097 8,197

Total as per Balance Sheet £174,227

A60

The Arts Council of Great Britai n

Schedule 7 Special funds : Assets as at 31 March 1974

Nominal Market Book value value value

H. A. Thew Fund 3 per cent British Transport stock 1978/88 2,015 800 1,937 3z per cent conversion stock 2,810 674 2,768 Equities investment fund for charities 2,922 5,336 3,068 7.773 Debtors 94 Cash at Bank 1,042 8,909

Mrs Thornton Fund 21 per cent consolidated stock 665 113 489 54 per cent conversion stock 1974 (PO issue) 200 197 203 _ 3 per cent British Transport stock 1978/88 355 135 337 511 per cent funding stock 1982/84 110 68 100 5 per cent Treasury bonds 1986/89 1,825 830 1,588 Equities investment fund for charities 2,217 4,048 2,328

Debtors 99 Cash at Bank _ 728

National Manuscript Collection of Contemporary Writers Fund Debtors 2,140 Cash at Bank 9,82 1

Fund Albright and Wilson Limited 234 276 872 British American Tobacco Company Limited 200 2,100 1,01 0 Cadbury Schweppes Limited 400 640 722 Commercial Union Assurance Company Limited 80 400 650 County Council of Essex 52 per cent redeemable stock 1975/77 1,000 774 966 Distillers Company Limited 345 862 719 _ Dowty Group Limited ordinary shares 525 892 1,004 7 per cent convertible unsecured loan stock 1986/91 150 101 150 English and Scottish Investors Limited 800 3,280 1,590 Equities investment fund for charities 2,141 3,909 2,561 General Electric Company Limited : ordinary shares 140 613 136 71 per cent convertible unsecured loan stock 1987/92 225 259 245 George G . Sandeman Sons and Company Limited 750 4,200 1,275 Group Investors Limited ordinary shares 1,120 1,792 1,280 deferred shares 186 261 492 Liverpool Corporation 5j per cent redeemable stock 1976/78 1,500 1,050 1,470 London Scottish American Trust Limited 600 1,752 1,680 Lyon and Lyon Limited 375 420 1,067 Royal Insurance Company Limited 105 1,008 727 Shell Transport and Trading Company Limited 250 2,190 2,079 20,695 Debtors 1,170 Cash at Bank 5,960 27,825 Carried forward £54,867

A61

Schedule 7 (continued)

Nominal Market Book value value value

Brought forward 54,867

Henry and Lily Davis Fund London County 51 per cent stock 1985/87 50,000 24,000 33,500 Equities investment fund for charities 17,464 31,889 34,192 67,692 Debtors 2,656 Cash at Bank -- 3,553 - - - 73,901 The Guilhermina Suggia Gift 31 per cent war stock 6,746 1,687 4,896 31 per cent funding stock 1999/2004 4,682 1,334 3,863 8,759 Debtors 2,598 Cash at Bank - - 1,988 13,345 (Note: Messrs Coutts and Company act as Special Trustee to this fund )

The Miriam Licette Scholarship Equities investment fund for charities - 9,019 16,469 18,147 Debtors 263 Cash at Bank - 3,368 21,778 - Dio Fund - - - - Equities investment fund for charities 674 1,231 1,797 Debtor 7 Cash at Bank - 335 - - 2,139

Miss O. E. Saunders Fund Freehold property 7,100 Debtor - - - - - 1,097 - 8,197

Total as per Balance Sheet £174,227

A62

The Scottish Arts Counci l

Revenue and expenditure account for the year ended 31 March 197 4

1972/73 £ £ 1,240,612 General expenditure on the arts (see Schedule 1) 1,994,45 1

114,234 General operating costs (see Schedule 2) 141,71 2

12,570 Capital expenditure transferred to capital account 73,597

3,819 Reserve for capital expenditure 4,719

65,479 Balance carried down 2,812

£1,436,714 £2,217,29 1

118,155 Balance carried forward to Balance Sheet 120,967

£118,155 £120,967

A64 1972/73 £ £ £

1,425,500 Grant from the Arts Council of Great Britain 2,179,000

3,987 Provision for grants and guarantees in previous year not required 12,837

- Transfer from reserve for capital expenditure 3,819

Sundry receipts _ Donations 1 1 138 Interest on bank deposit 15,506 Realization of assets 938 Miscellaneous 4,053 7,227 21,635

£1,436,714 £21,217,29 1

52,676 Balance brought forward at 1 April 1973 118,15 5

65,479 Balance brought down 2,812

£118,155 £ 120,967

A65

The Scottish Arts Council

Balance sheet as at 31 March 1974

Liabilities 1973

Capital account Balance as at 31 March 1973 226,22 6 Add: Capital expenditure during year transferred from Revenue and expenditure account 73,597 299,82 3

Less : Book value of assets sold or written off during year 3,355

226,22 6 296,468

£226,226 Carried forwar d £296,468

A66

Assets 1973

Freehold property 5 Blythswood Square, Glasgo w At cost as at 31 March 1972 35,661 Improvements at cost as at 31 March 1973 9,576 Improvements during year

336,348 & 350 Sauchiehall Street, Glasgo w Cost ofacquisition 39,881 Improvements during year at cost 5,248

45 Leasehold property 19/20 Charlotte Square, Edinburgh Improvements at cost as at 31 March 1973 106,63 5 Improvements during year at cost 2,827 106,635 _ 109,462 Office equipment At valuation as at 31 March 1955 and additions at cost less items sold or written off to 31 March 1973 16,024 Additions at cost 7,58 1

Less: items sold or written off 779 22,826 Motor vehicles At cost as at 31 March 1973 5,21 6 Additions at cost 3,937 9,153 Less : items sold or written off 2,141 16 7,012

Piano accoun t 200 At valuation as at 31 March 1955 200

Art exhibition equipment At cost as at 31 March 1973 Additions at cost 7,579 15,821 Less : items sold or written off 10 15,81 1

Works of art At cost as at 31 March 1973 Additions at cost 3,664 47,664 Less: items sold or written off 42.5 AA nnn 47.239

Reproductions 672 At cost as at 31 March 1973 672

£226,226 Carried forward £296,468

A67

Balance sheet (continued)

Liabilities (continued) 1973

226,226 Brought forward 296,468

118,155 Revenue and expenditure account 120,967

85,193 Grants and guarantees outstandin g 233,593

3,819 Reserve for capital expenditure 4,719

Credit balances 24,699 Sundry creditors and accrued liabilities

Notes: 1.No provision has been made for depreciation of assets : renewals are charged to Revenue. 2.At 31 March 1974, indemnities entered into by the Scottish Arts Council in respect of objects borrowed fo r exhibition purposes totalled not more than £131,600 .

Chairman of the Scottish Arts Council : Balfour of Burleigh

Secretary-General : Hugh Willatt

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation s 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 so as to exhibit a true and fair view of the transactions of the Scottish Arts Counci l and of the state of their affairs.

Signed : D. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 22 July 1974.

£458,092 £694,527

A68

Assets (continued )

£ £ £ 226,226 Brought forward 296,46 8

- Interest

187,000 Grants and guarantees paid in advance 245,866

56 Coffee house stock 63

Debit balances _ Sundry debtors and prepayments _ 46,241 Expenditure on future exhibitions in preparation 2,782 __ 44,055 49,023

On bank deposit 100,000 On current account 1,793 Imprests 141 In hand 173 755 102,107

£458,092 £694,527

A69

The Scottish Arts Counci l

Schedule 1 General expenditure on the arts for the year ended 31 March 1974

£ £ £ £ Music Grants and guarantees (see Schedule 3) 798,297

Opera for All : Expenditure 6,336 Less: Revenue 6,175 Less: VAT 550 5,625 71 1

- Ballet tour : Expenditure 7,170 Less : Revenue 7,456 Less : VAT 665 6,791 379

Concerts : Expenditure 19,072 Less: Revenue 20,429 Less: VAT 1,804 - - 18,625 - - 447 799,834

Drama Grants and guarantees (see Schedule 3) 427,667 Tours : Expenditure 11,759 Less: Revenue 11,764 Less: VAT 1,049 - 10,715 1,044 428,71 1

Touring (see Schedule 4) 16,577

Art Grants and guarantees (see Schedule 3) 100,98 2

Exhibitions : Expenditure 73,444 Less: Revenue 7,148 Less: VAT 463 6,685 - 66,759 Blythswood Square Gallery, Glasgow : Expenditure --- - 39,721 Less: Revenue - 9,043 Less: VAT 803 8,240 - 31,481

- Carried forward £199,222 £1,245,122 A70

1,245,122 Art (continued) Brought forward 199,222

Concrete Poetry project 70 Gable Ends project (Glasgow) 770 1,470 ------Art film tours ------Expenditure 1,265 Less: Revenue 337 Less: VAT - - 30------307 ------958------3,230 -- Films : ------Lecturers' fees and expenses 3,221 _ Less: Fees received -899 Less: VAT 82 ------81 7 2,404 _ ------207,284

Literature Grants and guarantees (see Schedule 3) 48,045 --- Poetry readings 855 - - _ Writers in Schools 2,184 - - -820 Less: Revenue - _ --- 76 Less: VAT - - - - 744 1,440 Miscellaneous expenses 3,395 _ 53,735

Festivals Grants and guarantees (see Schedule 3)

Projects, arts -Grants and guarantees (see Schedule 3) 91,700 centres and clubs

Housing the arts Grants (see Schedule 3) 274,00 0

Net expenditure as per Revenue and expenditure account £1,994,45 1

The Scottish Arts Council

Schedule 2 General operating costs for the year ended 31 March 1974

Salaries and wages 70,145

Superannuation 8,870 79,01 5

Travelling and subsistence 10,490

Rent and rates - - 8,229

Fuel, light and house expenses 10,149

Publicity and entertainment 9,326

Postage and telephone 6,155 - --- Stationery and printing 5,31 1

Professional fees 1,625 - -- Office and sundry expenses 6,212

Enquiries, surveys and investigation s 5,200

Total as per Revenue and expenditure account £141,71 2

A72

The Scottish Arts Council

Schedule 3 Grants and guarantees for the year ended 31 March 197 4 (including subsidies offered but not paid at that date )

£ £ Music Opera Ayr Intimate Opera Group 200 Dundee : Tayside Opera 400 Edinburgh : Grand Opera Group 700 Young Women's Christian Association 150 Glasgow Grand Opera Society 738 Scottish Opera Limited 320,000 322,18 8

Dance Scottish Theatre Ballet 188,000

Concerts Aberdeen : Aberdeen Chamber Music Club 350 Haddo House Choral Society 650 University of Aberdeen 200 Airdrie Arts Centre 250 Alloa Music Club 60 Arbroath and District Arts Guild 700 Arran Music Society 180 Atholl Arts Guild 80 Ayr Music Club 450 Badenoch Arts Club 300 Banffshire Arts Guild 265 Beith and District Community Association 650 Brechin Arts Guild 160 Bridge of Allan and District Music Club 300 Camoustie Music Club 180 Cove and Kilcreggan Literary Society 70 Cowal Music Club 400 Cumnock Music Club 550 Dalkeith and District Arts Guild 170 Dingwall and District Arts Guild 600 Dollar Music Society 325 Dumbarton Society 850 Dumfries : Dumfries Music Club 300 Guild of Players 800 Dundee Chamber Music Club 550 Dundee Organ Recitals Committee 75 Dundee University Musical Society 00 Dunfermline Arts Guild 9 Duns and District Arts Guild --3-65 East Lothian Arts Association 500 astwoo Music Societ y - 450 Edinburgh : Bernicia Ensemble 100 Connoisseur Concerts Society 1,000 Dunfermline College of Physical Education 200 Edinburgh Organ Recitals Committee 150 Martin Chamber Concerts Society 700

Carried forward £13,220 £510,188

A73

Schedule 3 (continued)

£ £ Brought forward 13,220 510,18 8

Music Concerts (continued) (continued) New Town Concerts Society Limited 800 Platform (Edinburgh) 1,600 Ruckers Concert Society 350 Traverse Theatre Club 500 Falkirk Arts and Civic Council 100 Fife County Council Education Committee 1,400 Forfar Arts Guild 100 Forres Entertainment Committee 100 Fortrose : Black Isle Arts Society 260 Gatehouse : Musical Society 170 Girvan and District Arts Guild 200 Glasgow : John Currie Singers Limited 3,000 Glasgow Arts Centre 500 Glasgow Chamber Music Society 900 Masterconcerts Limited 2,000 Platform (Glasgow) 1,300 Glenalmond Concert Society 40 Glenkens and District Music Club 250 Greenock Chamber Music Club 350 Gruinard Arts 50 Haddington : Lamp of Lothian Collegiate Trust 145 Hamilton Civic Society Arts Circle 340 Hawick Music Club 550 Invergordon Arts Society 465 Inverness Musical Society 275 Irvine : Harbour Arts Centre 75 Keith New Philharmonic Society 90 Kelso and District Music Society 280 Kilmardinny Music Circle 260 Kilmarnock and District Arts Guild 800 Kintyre Music Club (Campbeltown) 175 Kirkcudbright Audience Club 700 Lanark Arts Guild 200 Linlithgow Arts Guild 750 Livingston Development Corporation 2 Lochaber Music Club 183 Melrose Music Society 300 Miingavie Music Club 200 Moffat and District Musical Society 250 Montrose Festival Arts Society 50 Moray Arts Club 535 Moray Choral Union 75 Motherwell and Wishaw Council 350 Musselburgh Arts Guild 250 Nairn Music Club 220 North Ayrshire Arts Centre 700 Oban Music Society 250

Carried forward £35,660 £510,188

A74

Brought forward 35,660 510,18 8

Music Concerts continued continued) Orkney County Music Committee 1,060 Paisley Arts Guild 325 Peebles : Music in Peebles 35 Perth Chamber Music Society 280 Pitlochry Festival Society Limited 500 St Andrews Music Club 400 Shetland Arts Society 550 Skye Arts Guild 200 South West Ross Arts Society 120 Stonehaven Music Club 340 Stranraer (Branch Wigtownshire) Music Association 800 Strathaven Arts Guild 400 Strathearn Arts Guild 475 Strathspey Arts Club 325 Stewartry Music Committee 145 Sutherland Arts Committee 750 Tain and District Arts Society 300 Tayvallich Village Hall Committee 120 Thornhill District Music Club 100 Thurso Live Music Association 600 West Linton Musical Society 30 Wick Arts Club 150 Franco Scottish Society 30 Incorporated Society of Musicians 100 National Federation of Music Societies 7,000 New Music Group of Scotland Trust 1,600 Rehearsal Orchestra 75 Scottish Baroque Ensemble Trust Limited 15,000 Scottish National Orchestra Society Limited 177,25 0 Contemporary Music Network : University of Aberdeen 1,196 University of Edinburgh 1,01 5 University of Glasgow 637 University of St Andrews 1,006 University of Stirling : MacRobert Centre 281 4,135 248,85 5

Other activities Pianos Corporation of Greenock 550 Eastwood (First) District Council 500 Moray and Nairn Concert Trust 2,660 Stratheam Arts Guild 3,400 7,110

Carried forward £7,110 £759,043

A75

Schedule 3 (continued)

Brought forward 7,110 759,043

Music Other Activities (continued) (continued) Awards to Artists 8,244 Aberdeen : Haddo use Choral Society (organ) 300 St Mary's Junior Music School, Edinburgh 3,000 Saltire Society (recording) 1,600 Scottish Music Archive 4,000 University of Glasgow 15,000 39,254

Total as per Schedule 1 £798,297

Drama Biggar Theatre Workshop 2,000 Burgh of Coatbridge 188 Dervaig Arts Theatre Limited 6,500 Dundee Repertory Theatre Limited 50,107 Edinburgh : Edinburgh Civic Theatre Trust Limited 86,867 The Pool Lunch Hour Theatre Club 10,31 0 Theatre Workshop, Edinburgh 1,663 Traverse Theatre Club 31,920 Traverse Theatre Workshop 1,500 Glasgow: Citizens' Theatre Limited (including Close Theatre Club) 100,72 5 University of Strathclyde 25 Irvine : Harbour Arts Centre 10,000 Motherwell : St Mary's Church 150 Orkney Arts Theatre 1,210 Perth Repertory Theatre Limited 42,471 Pitlochry Festival Society Limited 37,800 St Andrews : Byre Theatre of St Andrews Limited 15,550 University of Stirling : MacRobert Centre 5,000 British Centre of the International Theatre Institute 175 Council of Regional Theatre 125 The Dark and The Light Theatre Limited 256 Go Theatre 2,075 7 :84 Theatre Company 8,800 Training Schemes Bursaries 5,300 Bursaries 6,950

Total as per Schedule 1 £427,667

Art Aberdeen : A r een rt Gallery 1, Aberdeen Artists' ociety 40 Peacock Printmakers 1,500 - Arbroath Arts Society 97 Arbroath Town Council 200 Dundee Young Painters' Society 40 Edinburgh : Ceramic Workshop 1,500 Richard Demarco Gallery Limited 20,000 Edinburgh Civic Theatre Trust Limited 3,000

Carried forward f 27,377

A76

Brought forward 27,377 Edinburgh University Press 1,500 57 Gallery 1,500 Printmakers' Workshop Limited 1,400 Saltire Society 300 Traverse Theatre Club 3,000 University of Edinburgh 61 3 Weavers' Workshop 900 Galashiels : Reiver Gallery 1,400 Glasgow: Compass Gallery Limited 4,500 Glasgow Contemporary Arts Group 25 Glasgow Group 267 Glasgow League of Artists 1,200 Glasgow Print Studio Limited 1,900 Glasgow School of Art 125 Inverness : Arts Society of Inverness 1,000 Kelso Town Council 350 Kirkcaldv Town Council 2,000 St Andrews : Arts Committee ofSt Andrews 35 University of St Andrews 150 University ofStirling : MacRobert Centre 300 Computer Arts Society 3,000 Steve Clark-Hall 300 Hebridean Books Limited 160

National Trust for Scotland 500 Mrs Walter Pritchard 500 Scottish Society ofWomen Artists 450 Scottish Young Contemporaries 1,288 Society of Scottish Artists 250 57.890

Films ofScotland : Robert Adam Film 10,000 Sorley MacLean Film 4,000 14,000 McMullen Films : "Tadeusz Kantor Cricot 2 Theatre" 610 Tree Films Limited : John Maxwell Geddes Film 750 Heinrich Boll Film 800

16,160

Awards to artists Commissions 17,003 Awards 9,929 932

Total as per Schedule I £100.982

A77

Schedule 3 (continued)

£ £ Literature Claddagh Records Limited 500 William Collins Sons & Company Limited 1,450 Gaelic Books Counci l 1,000 National Book League - Scottish Committe e 1,000 National Library of Scotlan d 1,000 Scottish Association of Magazine Publishers 3,000 7,950

Publications `Akros ' 1,750 `Aquarius' 375 `Chapman ' 750 `Gairm' 1,000 `Glasgow Review ' 1,000 `Lines Review ' 1,750 `New Edinburgh Review ' 800 `Scotia Review' 450 `Scottish International Review' 6,250 14,125

Poetry Readings Edinburgh University Poetry Society 150 Flourish 150 Glasgow Writers' Club 50 Highland Associatio n 65 Mrs Alanna Knigh t 150 Alex Lyon 33 National Book Leagu e 140 Poem' 74 300 Saltire Society (Lochaber Branch) 47 Scottish Association for the Speaking of Verse 50 Roderick W . Sharp 250 Traverse Theatre Club 400 University of Edinburg h 100 1,885

Writers in residence Corporation of Aberdeen 2,700 University of Glasgo w 1,200 University of Strathclyde 1,400 5,300

Munro Awar d 100 Book and New Writing Awards 3,600 Bursaries 9,750 Travel gran t 300 Grants to publishers 5,035 18,785

Total as per Schedule 1 £48,045

A78

Festivals Aberdeen : Corporation of the City of Aberdeen 500 Edinburgh : Craigmillar Festival Society 850 Edinburgh Festival Fringe Society Limited 1,000 Edinburgh Festival Society Limited 100,000 Leith Festival Committee 850 Glasgow : Clyde Fair International 5,000 Kelso Arts Festival 89 Kilmarnock District Council 400 Milnathort : Association of the Friends of Ledlanet Nights Limited 12,100 Perth Festival of the Arts 821 Royal Burgh of Stirling 1,000

Total as ner Schedule 1 £122,61 0

Projects, arts Aberdeen Arts Centre Association 1,900 centres and clubs Callander & District Arts Guild 200 Dumfries : Guild of Players 1,750 Edinburgh : Arts Projects (Edinburgh) 300 Greenock Arts Guild 700 Irvine: Harbour Arts Centre 1,000 Prestwick Arts Guild 400 Troon Arts Guild 550 University of Stirling : MacRobert Centre 28,000 Association of Arts Centres in Scotland • 1,400 County Council of West Dunbartonshire (Leisure Project) 50,000 Scottish Border Local Authorities Joint Committee Regional Planning Unit 3,500 Scottish Civic Entertainment Association 2,000

Total as per Schedule 1 £91,700

Housing the arts Corporation of the City of Aberdeen (His Majesty's Theatre) 100,00 0 Erskine Town Council (St Mary's School Theatre) 1,500 University of Glasgow (Art Gallery) 11,000 Inverness Town Council (Eden Court scheme) 160,00 0 Kilmarnock Arts Guild (Royal Palace Theatre) 1,500

Total as per Schedule 1 £274,000

A79

The Scottish Arts Counci l

Schedule 4 Stage 1 Touring Grants and guarantees for the year ended 31 March 1974

£ £ Music Contemporary Dance Trust Limited 6,01 7 Mercury Theatre Trust Limited (Ballet Rambert) 3,420 Phoenix Opera Limited _ 2,582 Scottish Opera Limited 9,000 Scottish Theatre Ballet Limited 3,000 -- 24,01 9

Drama New Shakespeare Company Limited 6,876 Pitlochry Festival Society Limited - 1,750 Prospect Productions Limited 1,91 6 Edinburgh Civic Theatre Trust Limited 2,368

12,91 - -- 0 Publicity --- Add: - 1,980 38,909

Less: Revenue Aberdeen Corporation 12,250 Dundee Corporation 1,082 Edinburgh Corporation 8,000 - - Glasgow Corporation - 1,000 22,332

Net expenditure as per Schedule 1 £ 16,577

ASO

The Welsh Arts Council

Revenue and expenditure account for the year ended 31 March 197 4

1972/73 £ £ 845,747 General expenditure on the arts (see Schedule 1) 1,442,733

95,386 General operating costs (see Schedule 2) 122,51 8

5,457 Capital expenditure transferred to capital account 18,176

1,270 Reserve for capital expenditure 9,204

58,084 Balance carried down 5,964

£ 1,005,944 £ 1,598,595

72,991 Balance carried forward to Balance Sheet 78,955

£72,991 £78,955

A82

£ £ £ 994,351 Grant from the Arts Council of Great Britain 1,557,930

5,371 Provision for grants and guarantees in previous year not required 8,324

- Transfer from reserve for capital expenditure 1,270

Sundry receipts Interest on bank deposits 24,934 Realization of assets 4,725 Miscellaneous 1,41 2 6,222 31,071

£ 1,005,944 £ 1,598,595

14,907 Balance brought forward at 1 April 1973 72,991

58,084 Balance brought down 5,964

£72,991 £78,955

A83

The Welsh Arts Council

Balance sheet as at 31 March 197 4

Liabilities 1973

Capital account Balance as at 31 March 1973 61,340 Add: Capital expenditure during year transferred from Revenue and expenditure account 18,176 Gifts 1,505 81,021

Less : Book value of assets sold or written off during year 6,168 61,340 74,853

£61,340 Carried forward £74,853

A84

Assets 1973 - -

Leasehold propert y Hoist House, Museum Place, Cardiff _ Improvements at cost as at 31 March 1973 4,836 Improvements during year at cost 267 ------5,103

53 Charles Street, Cardiff - Improvements during year at cost 6,176 - - - 4,836 ------11,279

_ Office equipment - - - At cost as at 31 March 1973 7,729 4,462 Additions at cost -- 12,191 Less: items sold or written off 1,41 5 7,729 - -- 10,776

Motor vehicles _ At cost as at 31 March 1973 9,321 Additions at cost 2,560 _ _ 11,881 Less: items sold or written off 753 , 9,321 11,128

Art exhibition equipmen t At cost as at 31 March 1973 _2,920 Additions at cost 479 ------3,399 Gift at valuation - 300 2,920 3,699 - -- - - Works of art At cost as at 31 March 1973 34,475 Additions at cost - 4,232 Gifts at valuation 1,205 39,912 - Less: items written off 4,000 34,475 ------35,91 2

Reproductions_ 161 At cost as at 31 March 1973 161

Manuscript collection 1,898 At cost as at 31 March 1973 1,898

£61,340 Carried forward £74,853

A85

Balance shee t (continued)

Liabilities (continued) 1973

61,340 Brought forward 74,853

72,991 Revenue and expenditure account 78,955

58,175 Grants and guarantees outstanding 64,084

1,270 Reserve for capital expenditure 9,204

Credit balances Sundry creditors and accrued liabilities 41,279 Due to Arts Council of Great Britain 200,000 41,120 241,279

Notes 1. No provision has been made for depreciation of assets : renewals are charged to Revenue .

2. At 31 March 1974 indemnities entered into by the-Welsh Arts Council in-respect ofobjects borrowed for exhibition purposes totalled not more than £295,570 .

Chairman of the Welsh Arts Council: William Crawshay Secretary-General : Hugh Willatt

£234,896 £468,375

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 so 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. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 22 July 1974.

A86

Assets (continued ) 1973

61,340 Brought forward 74,853

69,950 Grants and guarantees paid in advance 244,065

Debit balances Sundry debtors and prepayments 25,71 7 Due from Arts Council of Great Britain _ 800 Expenditure on future exhibitions in preparatio n 859 39,635 27,376

Cash On bank deposit 96,374 On current account _ 167 Imprests _ 40 In hand 500 In transit 25,000 63,971 122,08 1

£234,896 £468,375

A87

The Welsh Arts Counci l

Schedule 1 General expenditure on the arts for the year ended 31 March 197 4

£ £ £ £ Music Grants and guarantees (see Schedule 3) 391,83 7

Opera for All : Expenditure 5,269 Less: Revenue 4,673 Less: VAT 422 4,251 1,018

Concerts : Expenditure 123,93 1 Less: Revenue 65,57 1 Less: VAT 4,495 61,076 62,855 Recording of new music 6,228 Young Welsh Singers' Competition 2,545 464,48 3

Drama Grants and guarantees (see Schedule 3) 229,863

Art Grants and guarantees (see Schedule 3) 20,422

Exhibitions : Expenditure 55,500 Less: Revenue 14,885 Less: VAT 431 14,454 41,046

Art film tours : Expenditure 1,050 Less: Revenue 41 2 Less : VAT 37 375 675

Publications : Expenditure 1,951 Less : Revenue 967 984 63,127

Carried forward £757,473

ASS

Broueht forward 757,47 3

Literature Grants and guarantees (see Schedule 3) 73,645

Public readings : Expenditure 1,390 Less: Revenue 96 Less: VAT 8

_ Dylan Thomas Exhibition : _ Expenditure 10,293 Less: Revenue 1,01 3 Less : VAT 55 958 9,335 Translations 735 Writers in Schools 1,547 Dial a Poem 1,217 International Book Fair 750 International Writers Fellowship : Expenses 50 Awards : Expenses 959 89,540

Festivals Grants and guarantees (see Schedule 3) 34,019

Arts associations Grants and guarantees (see Schedule 3) 106,86 1

Projects, arts Grants and guarantees (see Schedule 3) 49,340 centres and clubs

Housing the arts Grants (see Schedule 3) 405,500

Net expenditure as per Revenue and expenditure account £1,442,733

A89

The Welsh Arts Counci l

Schedule 2 General operating costs for the year ended 31 March 1974

£ £ Salaries and wages 67,61 5

Superannuation 6,350 73,965

Travelling and subsistence 11,490

Rent and rates 9,416

Fuel, light and house expenses 2,768

Publicity and entertainment 11,002

Postage and telephone 5,53 1

Stationery and printing 3,902

Professional fees 368

Office and sundry expenses 4,076

Total as per Revenue and expenditure account £122,518

A90

The Welsh Arts Council

Schedule 3 Grants and guarantees for the year ended 31 March 197 4 (including subsidies offered but not paid at that date)

Music Opera £ £ Welsh National Opera and Drama Company Limited 316,000

Concerts Barry : Glamorgan Summer School 300 Brecon Cathedral Concerts Society 284 Brecon Music Club 153 Bridgend Festival 400 Caerphilly Music Club 265 Cardiff : Cardiff Gramophone Society 85 City of Cardiff Adult Education Centre 95 Howells School Concerts Society 74 Llanover Hall 180 National Museum of Wales 600 University College 380 University College Students Union 150 University Hospital of Wales Music Society 90 Ebbw Vale Music Club 250 Knighton Music Club 21 3 Merthyr Tydfil Arts Festival 40 Monmouth : Merlin Music Society 1,400 Newport Music Club 105 Newport : Royal College of Organists 80 Radnorshire County Music Committee 60 Rhymney Valley Music Club 200 Risca Adult Education Centre 35 _ Swansea: Welsh Chamber Ensemble 120 BBC Welsh Orchestra 25,000 Welsh Amateur Music Federation 21,000 Youth and Music (Wales) 3,000 54,559

Grants for the purchase of instruments Bangor : University College of Wales 1,548 Bridgend Urban District Council 1,854 Cwmbran Urban District Council 1 ,772 Swansea University College 2,837 8,01 1

Other activities Publications : Guild for the promotion of Welsh Music 1,100 Cardiff University College 425 1,525 Commission Aid 6,865 Awards to artists 4,877

Total as per Schedule 1 £391,837

A91

Schedule 3 (continued)

Drama Bangor : Cwmni Theatr Cymru 52,875 Theatr Ifanc 650 Breconshire Theatre 4,550 Cardiff : Cardiff New Theatre Society 52 Cardiff New Theatre Trust Limited 14,800 Cardiff Open Air Theatre 7,400 Caricature Theatre Trust Limited 18,200 Llanover Hall 300 Moving Being 14,600 Sports Council for Wales 26 Theatr Yr Ymylon 2,000 Transitions Trust 2,000 University College : Sherman Theatre 31,188 Welsh National Opera and Drama Company Limited 65,000 Ebbw Vale : Guild of Welsh Playwrights 20 Flintshire Education Committee 600 Glamorgan Education Authority : Summer School 352 Rhuthun : Eisteddfod Genedlaethol Cymru 750 Swansea : Swansea Corporation : Grand Theatre 8,000 University College 15 Treherbert : Upper Rhondda Youth Centre 25

Records Sain Records : Tribute to Saunders Lewis 250

Drama Association of Wales 3,750 Bursaries and awards 2,460

Total as per Schedule 1 £229,863

Art Breconshire Theatre Company : Photography Commission 750 Bridgend Art Society 40 Cardiff : Llanover Hall 260 Contemporary Arts Society for Wales 400 Cwmbran : Llantarnam Grange 400 Flintshire County Library : Lecture fee 25 Radnor Film Society 35 Rhuthun: Eisteddfod Genedlaethol Cymru 1,400 Talgarth : Howell Harris Museum 130 Welsh Books Council : Design Department 3,000 Charles Byrd 25 Welsh Dance Theatre 40 Wynford Evans and Carl Shavitz 75 Keith Wood : The Philosopher's Stone 400 Zoo Cooperative 200

7,180

Carried forward £7,180

A92

Brought forward

Art Grants and guarantees towards exhibitions : continued Cardiff : Llandaff Festival 200 University Art Group _ Newport : Museum and Art Gallery _ 500 Oxfam 65 Royal Cambrian Academy of Art 400 Society for Education through Art 250 56 Group Wales 1,800

- --- 3,81 5 Works of art for public buildings Swansea City Council:.Kingsway Roundabout 1 1000 Welsh College of Music and Drama 4,000

Publications _ University of Wales Press 21000

Awards for film making 1,377 Commission awards 1,050

Total as per Schedule 1 £20,422

Literature Lampeter: Cymdeithas Emrys ap Iwan : Easter Conference 100 Rhuthun : Eisteddfod Genedlaethol Cymru 220 South and Mid Wales Writers Association 50 Swansea University College : Dylan Thomas Summer School_ 400 _ Welsh Books Council 17,000 Yr Academi Gymreig 775

18,545 Periodicals `The An_gl_o_Welsh Review' 2,600 `Barn' __ 32000 `Llwyfan' 600 `Planet' _ 2,350 _ _`Poetry W_al_es'___ 2,350 `Taliesin' 1,300 `Y Genhinen' 1,050 `Y Traethodydd' 700 13.950 Little Magazines `Lleufer' 50 `Ram' `Second Aeon' 750 `Yr Eurgrawn' _ 50

Carried forward 5

A93

Schedule 3 (continued)

Brought forward 33,395

Literature Public readings (continued) BBC `Wales where are your Poets?T 900 - 'Six long radio poems by Welsh Poets' 800 Cymdeithas Lenyddol Caerdydd - 50

1,750

Recording s Sain Recordian Cyf 400

International Writers' Fellowship Eugene Ionesco 1,000

Grants to publishers 14,530

Grants to translator s 350 Bursaries 17,800 -- - Honours 2,000 Prizes 1,500 Travel grants 920

22,570

Total as per Schedule 1 £73,645

Festivals Caerphilly Festiva l 2,500 Cardiff Festival of 20th Century Musi c 9,000_ Llandaff Festival 4,950 Llangollen International Music Eisteddfod 8,250 - Llantilio Crossenny Festival of Music and Drama - 768 Lower Machen Festival 1,050 North Monmouthshire Festival of the Art s --- - 901 Swansea Festival 5,550 Vale of Glamorgan Festival 1,050 - Total as per Schedule 1 £34,01 9

Arts associations North Wales Association for the Art s 40,000 South-East Wales Arts Association 15,248 West Wales Association for the Art s 51,613

Total as per Schedule 1 £106,861

A94

Projects, arts Aberystwyth : University College of Wales 19,850 centres and clubs Bwrdd Ffilmiau Cymraeg 3,000 Cardiff : Chapter (Cardiff) Limited 10,440 Welsh National Arts Centre 5,000 Coleg Harlech Theatre and Arts Centre 10,000 Year ofthe Valleys 300 Gregynog Fellowship 750

Total as per Schedule 1 £49,34 0

Housing the Aberystwytt~-.-UniversityCollege of Wales(Theatr y Werin 4,500 arts Bangor : University College of North Wales Theatre 30,000 Cardiff University College (Sherman Theatre) 21,000 Flintshire: County Council (Mold Arts Centre) 265,000 Milford Haven Further Education and Community Centr e Management ommittee Theatre 25,000 Ogmore and Garw L-Frban istrict Council~Berwyn Centre 14,000 wansea Corporation Glyn Vivian G-allery 30,000 Wrexham-BoroughCouncil its Centre 16,000

To as per Se ediTI £405,500

A95