The Scottish Arts Council (CBE ) Mr N

Home , Aberdeen Arts Centre, Barbara Jefford, Caird Hall, Earl of Snowdon, Greenock Arts Guild, Michael Blakemore

Pt(Z C vk 1 --l6 coPy The Arts Council of Great Britai n A new charter Twenty second annual report and account s The Arts Council of Great Britai n 4 St James's Square London SW 1 year ended 31 March 1967 01-930 973 7

ARTS COUNCIL OF GREAT BRIT IN

REFERENCE ONLY

00 NOT REMOVE FROM THE LIBRARY Membership of th e Council, committees and panels

Counci l

The Lord Goodman (Chairman ) Professor Sir William Coldstream, CBE, DLitt (Vice-Chairman ) The Right Hon. Sir Edward Boyle, Bt, M P Colonel William Crawshay, DSO, ER D Miss Constance Cumming s C. Day Lewis, CBE, DLit t The Earl of Harewood Professor Gwyn Jones, CB E Sir Joseph Lockwoo d Colin H . Mackenzie, CMG Mrs Myfanwy Pipe r Dame Jean Roberts, DBE, DL, J P Professor D. Talbot Rice, MBE, TD, DLitt, FS A Hugh Willatt Angus Wilson, FRS L Sir John Witt

Scottish Arts Counci l

Colin H . Mackenzie, CMG (Chairman ) Ian Finlay, CBE (Vice-Chairman ) J. S . Boyl e Colin Chandle r J. B. Dalby Cedric Thorpe Davie, OB E R . D . Hunter, MB E Dr J. A . MacLea n Miss Lennox Milne, OB E Edwin Morga n Neil Paterso n Alan Reiach, OB E Professor D Talbot Rice, MBE, TD, DLitt, FS A Dame Jean Roberts, DBE, DL, J P George Singleton, CB E Professor Andrew McLaren Young Dr Douglas Youn g

Welsh Arts Counci l

Professor Gwyn Jones, CBE (Chairman ) Colonel William Crawshay, DSO, ERD (Vice-Chairman ) Professor W . J . G. Beynon, CBE, PhD, DSc G. G. Evans Alfred Francis, OB E Alex J . Gordon, OBE, DipArch, FRIB A lorwerth Howell s Dr Glyn Tegai Hughe s David Dilwyn John, CBE, TD, DSc, FM A Kenneth Lovelan d Professor T . J . Morgan, DLit t Gareth Thoma s Miss D . E. Ward Councillor Tudur WatKin s Professor J . R. Webster, Ph D Clifford Will iams Art pane l

Sir John Witt (Chairman ) Professor Sir William Coldstream, CBE, DLitt (Deputy Chairman ) Ronald Alle y Professor Quentin Bel l Alan Bowness 'Ian W. Bruc e Robyn Denny Basil Gray, CBE Peter Green ha m Adrian Heat h Carol Hogbe n F . E. McWilliam, CB E Professor Bernard Meadows, ARC A Sir Roland Penrose, CB E John Pope-Hennessy, CB E Norman Reid The Earl of Rosse, M B E Sir Robert Sainsbury, ACA Hugh Scrutton, CB E Professor Alastair Smart, D A Mrs K . L . Somerville, OB E Adrian D . Stoke s David Sylveste r Joe Tilso n Francis Watson, CVO, FS A 'Derrick Woodha m 'Junior membe r

Drama pane l

Hugh Willatt (Chairman ) Miss Constance Cummings (Deputy Chairman ) Michael Barry, OB E 'Miss Susan Burdel l Stuart Burg e Miss Nancy Burma n John Bur y Andrew Cruickshan k Patrick Donnel l Miss Jane Edgeworth, MB E Michael Elliott Martin Essli n Robin Fox, M C Miss Margaret Harri s Miss Jocelyn Herbert Miss Barbara Jefford, CB E J. W . Lamber t Leo McKern Dr A . H . Marshall, CB E John Mortimer, Q C 'Andrew Murra y Anthony Page Harold Pinter, CB E T . Osborne Robinso n James Saunder s Miss Elizabeth Sweating, MB E Antony Tuckey Kenneth Tyna n 'Junior member 4

Literature panel

C . Day Lewis, CBE, DLitt (Chairman ) Angus Wilson, FRSL (Deputy Chairman ) Miss Patricia Bee r Victor Bonham-Carte r Miss Brigid Brophy Leonard Clark, OBE, HM I R. G. Davis-Poynte r Patrick Garland Giles Gordo n Ted Hughes Professor Frank Kermod e Derwent May Julian Mitchel l Ian Parson s Peter Porter V. S . Pritchett 'C . Ben Ridler William Sanso m Jon Stallworth y Miss C. V. Wedgwood, CB E 'Junior membe r

Music panel

The Earl of Harewood (Chairman ) The Right Hon . Sir Edward Boyle, Bt, M P (Deputy Chairman ) Dr Gerald Abraha m Madame Irina Baronov a Anthony Besc h Geoffrey Bush, DMus Joseph Coope r Frederic R . Cox, OB E Professor Thurston Dart Meredith Davie s Dame Ninettede Valois, DB E 'John Drummon d Geraint Evans, CB E Alan Fran k Douglas Gues t Barrie Iliffe Professor Ivor Keys, DMu s Keith Leste r Gerald Moore, CB E Miss Thea Musgrave 'David Pipe r William Pleet h Andrew Porte r Peter William s `Junior member Young people 's theatre panel

Miss Constance Cummings (Chairman ) Hugh Willatt (Deputy Chairman ) John Alle n John Blatchle y Stuart Burg e 'Miss Susanna Capo n Mrs Nettie de Montmorency R. Gargrav e Colin Georg e 'Andrew Gibso n Geoffrey Hodso n Ronald James Miss Caryl Jenne r David E . Kem p D . M . Kirkma n J. D . R . McVi e Miss Joan Plowright Owen Ree d James Saunders Clifford William s 'Junior member Staff

Headquarter s

4 St James's Square London SW 1 01-9309737 Secretary-General : Nigel J . Abercrombi e Deputy Secretaryand Finance Officer : M . J . McRobert, CBE, FCA Art Director: Gabriel White, CB E Deputy Art Director: Robin Campbell, DS O Drama Director: J. L . Hodgkinson, OB E Deputy Drama Director: N. V. Linklater, OB E Music Director : John Cruft Deputy Music Director: Eric Thompso n Assistant Secretaryand Literature Director : Eric W . White, CB E Assistant Literature Director : Charles Osborn e Accountant : Anthony Field, FC A Assistant Accountant: Alan P . Ritchie, ACA

Scotland

11 Rothesay Terrace Edinburgh 3 031-225 276 9 Director: Ronald Mavo r Deputy Director : Donald Mathe r

Wales

Holst Hous e Museum Plac e Cardiff Art and General : 0222-3272 2 Music : 0222-43055 Director: Aneurin M . Thomas 7

Contents

page 9 Introductio n

11 A new charter

16 On the margi n

18 Housing the art s

22 Theatre f or you ng peopl e

25 Report on the needs of the subsidized theatre in Londo n

28 Changes in the musical scen e

30 Poetry in the makin g

33 Scotlan d

41 Wales

Appendices

49 A The new charte r

53 B List of art exhibition s

57 C List of poetry manuscripts acquisition s

60 Accountant's notes

62 Annual accounts

The cover and dividing pages are image s prepared forthe report by Gordon House

i /AI ma as A chairman's note

Although the Arts Council is now a well-established institution, its policy and working methods are by no means fully evolved . The additional resources-given to us by a Government anxious to stimulate and develop the work we do-have emphasized th e problems and difficulties that confront us.

The major problem is to define our scope . We remain and always will remain an auxiliary body. Artistic activity would,. happily, continue without us, and the contribution we ca n make to promoting artistic output will always be arguable . On this score we take a modest view. We have no evidence that poets, authors, painters or composers-or any creativ e workers-are the more fertile because we exist and give them our support . It would b e complacent to entertain such beliefs. But that does not detract from the relevance of a body with a function to improve the working conditions of artists and to preserve and enlarge thei r public.

For it is this latter function that constitutes our major activity, and the highest service that w e can render to the artist. And it is to this objective that the bulk of our resources and energie s have been and will continue to be devoted .

There are few thinking people to whom the need for artistic subsidy would have to b e justified today. It is not a matter of choice. I n some ways, it might be preferable to live in a society where the measure of private support for our activities obviated the need for Stat e assistance. But such a society has totally ceased to exist . The fiscal policies of every Government in our memory have contributed to a situation where private bounty o r investment is now totally inadequate to sustain a civilized ration of music and theatre, o f poetry and picture . Nor need we be remotely apologetic in asking for the modest sums w e need for our purposes from the public purse . The Government has garnered in much, if no t most, of the wealth that cultured patricians and public-spirited industrialists could formerl y bestow. It holds a portion of its treasury charged with a trust to use it for our purposes-and, in fairness, the growth of the Arts Council in scope and importance demonstrate s governmental recognition of this principle .

We have, we believe, started to evolve a firm policy-and the pages of this report furnish some guide to it. But it must be protean . We do not exist to plan artistic and cultural projects . Very few are the fruit of direct Arts Council labours . And this is as it should be. The larger th e extent of national subsidy, the more vital that it should neither bear norseem to bear the imprint of a single body. Artistic life in this country must not be dominated by a small , non-elected appointed caucus in St James's Square . The avoidance even of th e possibility of such domination is a conscious plank of our policy . Thus we encourage loca l plans and promotions; thus we encourage the development of a sensible regionalism-no t the 'fragmentation' of established important institutions or the notion that every town mus t have an opera house, but the support of the thesis that in a great and closely populate d country it is an absurdity that every major artistic institution should be crowded into the metropolis.

We recognize with humility the magnitude of our problems . How shall we reconcile th e diffusion of money and effort with the maintenance of quality 1 How can we find enoug h money to promote important new ventures without danger to those already established an d entitled to a legitimate growth factor 1 How can we find, train and support the ne w administrators upon whom the whole operation depends 1

Over the years we have made an active and tangible contribution to the scene . But certainly not alone . And this is welcome . The contribution of the B BC to the spread and quality of British music is epochal . There are great areas for collaboration . The English Theatre flourished under private management before we were dreamed of . It is our duty, in th e administration of subsidy, to co-operate with its best elements . Whether we can or should i n the end give direct aid to private managements is a problem we are now investigating.

1 0

Junior panel During 1966 the Council decided to appoint not more than two junior members to each of members the Panels . The Council considered that students and ex-students, aged eighteen to twenty-five, with suitable qualifications and artistic interests, formed an important grou p whose views could not easily or regularly be made known to the Council without specia l machinery. Thefirst appointments in this category are noted in the lists of Panel member s on pages 2-6 .

Minister with special We applaud the Government's decision, announced on 14th February, 1967, to appoint th e responsibility for Right Hon . Jennie Lee, M P, Ministerof State of the Department of Education and Science . the arts Miss Lee previously held office as Joint Parliamentary Under-Secretary of State of th e Department .

We offer our congratulations on the following awards :

New year honours Sir John Witt, a member of the Council and Chairman of the Art Panel (Knight Bachelor ) 1967 Mr George Singleton, a member of the Scottish Arts Council (CBE ) Mr N . V. Linklater, Deputy Drama Director (OBE)

B irthday honours 1967 Sir Robert Sainsbury, a member of the Art Panel (Knight Bachelor ) Mr Hugh Scrutton,a member of the Art Panel (CBE ) Alex J . Gordon, DipArch, FRIBA, a member of the Welsh Arts Council (OBE ) Miss Elizabeth Davison, Assistant, Art Department (OBE )

Obituaries Brian Dunn died suddenly on 1 st July, 1967 . Before leaving the Council's service on 1 s t December, 1965, to become Manager of the New BBC Orchestra in Bristol, he had been a member of the music staff for some fifteen years, as a Regional Music Officer, and then as th e Liaison Officer to the National Federation of Music Societies, where the professionalism o f his advice won him great respect and many friends .

A . C. Taylor died on 9th April, 1967, after more than eighteen years' service with the Council . The Art Director writes : His long experience in foreign transport and agency gave him th e qualifications needed to cope with the Council's growing liabilities at that date in th e organization of foreign exhibitions . These he successfully undertook, and his unstinte d devotion and knowledge of all the problems involved were largely responsible fo r establishing the Council's reputation in this field . When he was first involved in 1947 in th e two earliest major exhibitions of the Arts Council-Van Gogh paintings and drawings an d French tapestry-he was not a member of the staff . He was at that time new to the problems o f handling works of art, but he soon acquired the necessary knowledge and no one was stricte r in ensuring the fullest security and the most careful handling of all the exhibitions for whic h he was responsible . He was soon a well-known and popular figure with foreign transpor t agents in many countries with whom he came in contact . For eighteen years he personall y supervised the moving of all the Council's larger exhibitions and it was only because of hi s whole-hearted dedication to the task that an extensive programme was successfull y achieved through so long a period . In the last year or two he continued his duties unde r considerable difficulties due to increasing ill health . He was shortly due for retirement whe n he became seriously ill and had to undergo an operation . It was sad he was never able t o enjoy a retirement he had so richly earned . vie

Secretary General 1 1 A new charter

The first of the two main objects of the Arts Council of Great Britain, as re-defined in ou r new Royal Charter of Incorporation, granted on 7th February, 1967, is :

'to develop and improve the knowledge, understanding an d practice of the arts' .

The second is :

'to increase the accessibility of the arts to the publi c throughout Great Britain' .

Forthese purposes the Government provided in 1966/67 the sum of £5,700,000 . The Government has also appointed the Chairman and the other distinguished persons whos e names appear on page 2 of this report, to exercise full responsibility for matching th e Council's financial resources appropriately to its formal objects .

The strategy and tactics of this operation have varied from time to time during the decades o f the Arts Council's existence, as the volume of our resources has grown, and the pattern o f artistic activity in Great Britain has evolved . In a debate which took place in the House o f Lords on 19th April, 1967, just after the end of the financial year now under review, ou r Chairman said :

'There has been-and I admit it frankly to the noble Lord , Lord Cottesloe-some change of policy and some change o f emphasis since his day. I do not say that our policy is an y better, but it is different, in the sense that our major emphasi s is on cultivating new audiences for the arts . The question o f improving the standard and quality of those institutions whic h are still there is of great importance, but it is not ou r paramount consideration . . . . I believe that there is a crucia l state in the country at this moment . I believe that young people lack values, lack certainties, lack guidance ; that they need something to turn to; and need it more desperately than the y have needed it at anytime in our history-certainly, at an y time which I can recollect. I do not say that the Arts wil l furnish a total solution, but I believe that the Arts will furnis h some solution. I believe that once young people are captured for the Arts they are redeemed from many of the dangers which confront them at the moment and which have bee n occupying the attention of the Government in a completel y unprofitable and destructive fashion . I believe that here we have constructive work to do which can be of inestimabl e value .'

Yet a certain continuity of policy is dictated by the unchanging nature of the task to b e accomplished : Lord Cottesloe, at the end of the debate, spoke of his pleasure in hearin g Lord Goodman, 'with hardly a word of whose speech I would disagree'.

Most of the Council's day-to-day work consists necessarily ofd ecisions taken ad hoc, but a n attempt will be made in this report to bring up to date the descriptions, which have often bee n published before, of the principles in view and the techniques employed .

In the first place, the Council is concerned with artists . The preservation and exhibition o f those great works, whether of sculpture and painting, or of music and letters, which constitut e our legacy from the past, are to some extentthe responsibility of other organizations . So far a s these activities depend upon the interpretative work of living artists, they are our business . 12

Shakespeare depends on actors, as Beethoven, Verdi and Petipa depend on musicians , singers and dancers . It is a duty of the Arts Council to see that these artists are enabled an d encouraged to provide the people of Great Britain with the best possible presentation of th e masterpieces . All this is relatively easy . What is more difficult, because it must be done wit h much less prospect of sympathetic understanding and support from the great mass of th e art-loving public, is the encouragement of contemporary creative artists .

For many years, the Arts Council took the view that the severely limited public fund s available oughtto be devoted entirely to the support of institutions and enterprises, rathe r than individuals . There are several trusts, bequests and private benefactions at the Council' s disposal which have regularly been used to help individual artists to pursue their own careers , but it was thought inappropriate to use the Government grant in this way to any appreciabl e extent. In February 1965, the Government itself sponsored a radical change in this policy, b y issuing a White Paper (Cmnd . 2601) entitled A Po/icy for the Arts, which contained th e following passage :

'As has been said, one of the main objectives of th e Government's policy is to encourage the living artist . At present the young artist, having finished his schooling, ha s still to gain experience and has difficulty in obtainin g employment. Manyturn aside to other types of employment because the life of the artist is too precarious, and theirtalent s are not used to the best advantage . Painters, poets, sculptors , writers and musicians are sometimes lost to art for lack of a comparatively small sum of money which would support their start in life . The increase in the Government's grant t o the Arts Council will enable them to raise from about £10,000 to £50,000 the sum allocated for awards an d assistance to young artists in all fields . Awards can be use d for travelling abroad and study if so desired .'

Since that time, the Arts Council has given prizes for books and plays, bursaries an d maintenance grants for writers, purchase awards and sabbatical terms for painters an d sculptors, commissions to composers and choreographers, and analogous persona l benefactions, on a greatly increased scale .

As was expected, this development provoked some public criticism . The Council ha s endeavoured to profit by all this advice, in the routine process of evaluating and modifyin g its own initiatives. No one responsible for the disbursement of money for the improvement o f standards in the arts in a country would ever claim that some of the money so spent might not , with hindsight, have been betterspent in some other way : the accounts for 1966/67 in thi s report are there to substantiate the Council's case that this money was we//spent . For it is true, and needs to be more widely known, that creative artists in Great Britain are too ofte n insufficiently rewarded fortheir life's work . In the single instance of literature, nearly half the writers who, from 1963 to 1965, were solely or principally occupied with authorship earne d less than £10 a week by the whole of their literary work (R . Findlater, The Book Writers, 1966: page 11) . Mutatis mutandis the case is the same for painters, sculptors and composers : apart from a few established names of international repute, they would be living in absolute penur y if they lacked both private means and public subsidy, and devoted all their energies to thei r creative work . So long as this position of affairs continues, and the situation of interpretativ e artists remains little better, it is idle to expect progress in 'developing and improving th e practice of the arts' .

As a matter of economic theory it might be argued that the livelihood of artists ought to b e provided by the people who enjoy their work . In practice it never has been : and the actions of successive Governments in this country, in setting up the Arts Council and empowering local 1 3

authorities to subsidize the arts from the rates, recognize the absolute necessity, in moder n times, of public patronage . But if patronage is to work, it must benefit artists . Free libraries, free public galleries, cheap seats at the theatre, will not keep the arts alive if the conditions o f existence for living artists are such as to drive them out of their professions, and discourag e the most intelligent newcomers from devoting themselves to their true vocation . Genius ma y survive in garrets, but common sense and humanity alike reject this as an adequate solution o f the problem.

Whether this limited form of patronage should be aimed directly at enhancing the status of the professions by signally honouring and rewarding outstanding successful work, or rather a t improving the chances of good and promising artists who have not yet achieved outstandin g success, is not a question that can be finally decided in categorical terms; it must remain a matter of degree, and the policy that may be the wisest at one point of time for one art ma y not suit a different set of circumstances . This is a major difficulty which the Council cannot escape. Again, the selection of beneficiaries will always be invidious, and even the principl e of selection can be controversial : if it is decided boldly to help as many young artists a s possible, so as not to miss the chance of picking a Shelley or a Constable, one result will b e wholesale encouragement of mediocrity . Mistakes are inevitable, but it would be a counse l of despair to withdraw from the policy adopted in 1965 because of occasional failures in it s administration .

A second major concern of the Council is the well-being of the great national institution s which embody the achievements of the nation's artistic efforts in the best attainabl e conditions, and form as it were an international show-case. It is, simply, essential that th e capital city of a civilized country should have fine theatres . The international reputation of th e Royal Opera House, the Royal Ballet, the National Theatre, and the Royal Shakespear e Theatre must be sustained for this reason, and the Arts Council is glad and proud to have th e main responsibility for ensuring it, as a matter of national policy . The lead and stimulu s provided by these institutions is also invaluable forthe welfare and vigour of the lyric an d dramatic theatres throughout the country .

Nevertheless, the inevitable fact that the finest theatrical experience in Great Britain i s ordinarily to be found in the capital presents a serious challenge to the Arts Council, becaus e of the second of the Council's defined objects, 'to increase the accessibility of the arts to th e public throughout Great Britain' .

In this work of dissemination, the Council has powerful allies . Many of the great provincia l art galleries, as for example the Walker Gallery at Liverpool, can and regularly do presen t large-scale exhibitions with metropolitan standards of skill and taste . Manchester 's Library Theatre has for twenty years served the local public with good drama, well produced an d well acted, with no subsidyfrom us . Local authorities in other parts of the country have take n pride in responding to local initiatives before the Arts Council was in any position to join the m as'Partners in Patronage ' (to quote the title of our 16th Annual Report) . Local education authorities have done much to improve and extend the artistic content of the curricula i n schools, and in centres of further and adult education . The British Broadcasting Corporation , and to some extent the independent television companies, have devoted money and resource s towards the satisfaction of more exacting requirements than those of the mass audiences, and thus contributed to the improvement of popular knowledge, understanding an d appreciation of the arts . Impresarios have organized visits to this country by foreign artists and companies of the highest international standards, to the great benefit of the public .

The role of the Arts Council in all this activity is slight, or at best secondary . Apart from th e work of the Art Department, and the special case of Opera forA//, the Council no longer brings the Arts to the people in England by direct promotion . But our support of independent theatr e companies, orchestras and other locally-based artistic enterprises has grown in scale so as to be of real national importance . It is hard to imagine how the pre-eminence of Great Britain 14

in the theatre world of today could have been achieved without the Council's contribution t o the development of the associated group of theatres named on page 89 of this report ; and it is certain we should not today have four first-class regional symphony orchestras in England i f their financial stability had depended on regional sources of supply. The Council's financia l support of independent institutions is constantly aimed towards enabling the people of Grea t Britain increasingl y to enjoy all that is best in the artistic life of the country ; and thus, b y improving national standards of appreciation, we aim once moreto stimulate and encourag e creative and interpretative artists .

It is easier said than done .

If the Council accepted at face value criticisms occasionally received from the public abou t the allegedly 'disgusting', 'decadent','alien' or 'incomprehensible' productions in literature , drama, music and the visual arts which receive part of our subsidies; and if at the same tim e we withdrew our help from Covent Garden (because it has been described as a 'museum of musical antiquities'), from orchestras playing obsolete nineteenth-century symphonies , from theatres which present old-fashioned pantomimes at Christmas, from representationa l painters and traditional poets : in these conditions we might easily satisfy all our helpfu l advisers, except the less vocal majority who care for the achievement of our declare d objectives.

Instead, the Council endeavours to find a constructive policy in which the first, rather modest , ingredient is financial common sense, or good housekeeping . Being charged with the duty of laying out some of the products of taxation, we are obliged to consider what value we get fo r the money. There is no prima facie case for subsidizing work which the public is ready t o support to such an extent as to give a reasonable return to theartists and promoters concerned . Occasionally our help brings in some net financial gain to the Arts Council : it happene d notably in the case of the Council's exhibition of Picasso's painting at the Tate Gallery i n 1960; it happens from time to time through the eventual commercial success of a play whos e orig inal production was guaranteed by the Council . Normally, however, subsidy should go where it is needed . This need not involve the pauperizing consequences of a stringent'mean s test' (unless the Council's grant were seriously inadequate), but where we are backing a winner, it behoves us to make sure that the profits are ploughed back to the best publi c advantage . If we could reach the point where public support was so effectively stimulated a s to make subsidies unnecessary, this would be the supreme justification of our work . In th e meantime, we ought not to waste our resources on enterprises which prove in practice to b e quite unacceptable to the public . There is a level of persistent failure, in this sense, that mus t be regarded as definitive. Between these two extremes, the Council must find the bes t compromise, encouraging promise wherever it is found, but not losing touch with reality . If the horse finally will not drink, it is a waste of effort to bring him water .

This means that the Council must be as much concerned with the managerial efficiency of ou r client concerns as though we were in business for gain-a consequence which client s sometimes fail to appreciate very kindly : and it is very much in the Council's interest tha t capable administrations should be employed in these non-profit-distributing companies . The newly-founded management course for art administrators which the Polytechnic School o f Management Studies is running at our request and with our collaboration, should hel p in thi s direction .

While our functions can thus be compared to those of an unusually benevolent banker, the y are on the other hand necessarily selective . To spend money on bad work is just as wastefu l as spending it on'subsidizing emptyseats' . Here, however, the criteria are even less easy t o define. It would be unrealistic as well as arrogant to suppose that patterns of artisti c perfection were laid up in St James's Square-or anywhere else . The Council is advised b y panels of qualified experts, and served by experienced staff, in order to decide whether or no t any particular application for help shows the quality of achievement and promise that justifies 1 5

support from a public body dedicated to the improvement of standards . If so, and if money ca n be found, the client will be expected to fulfil our expectations of him . Unless experience show s thatthe firstdecision was seriously wrong, he can count on a continuance of support . In this way, the Council will hope that its efforts, over the years, contribute towards making mor e and better work in all the arts accessible in better conditions to more people in Great Britain . But the acknowledgment of Arts Council assistance printed in a programme, catalogue, o r magazine, is not meant to be regarded as a certificate of quality, workmanship and taste .

Within these general conditions, the Council acknowledges a duty to foster potentiall y interesting experiments. In this field least of all will it ever be possible to predict success, eve n artistic success. But it is here that our work impinges most directly on the vigorous aspiration s of young artists, and the vital questing appetite of young audiences, readers and spectators . Something was said of this in the last Annual Report, but it will bear repetition . Whether i n theatre, music, the visual arts or literature, we aim our subsidies to increase public appreciatio n of fine work. If the work comes from contemporary British artists, so much the better . If the increasing public is young, so much the better still, because this promises a favourable climate for the arts in the future-and also because the nation requires and deserves a better qualit y of life for the coming generation .

The Council and its Panels continued during the year under review the essential work o f fact-finding, on a larger scale than hitherto. The Drama Panel in particular produced a usefu l report, summarized on pp. 25-6 below, which gave rise to considerable discussion an d some controversy: it has become a basis for a further enquiry into the condition of the theatre in Great Britain as a whole. This major enquiry has been entrusted to a special committee o f people of wide and varied experience who have volunteered to work under the chairmanshi p of Sir William Emrys Williams, CBE . DLitt. The Council's enquiry into the future of Opera and Ballet in Great Britain has continued, and may be expected to result shortly in a comprehensive report .

On the margi n

Sometimes the Arts Council is associated with activities concerning artistic matters, which d o not call for direct report since they result in no actual allocation of Arts Council grant-aid . During the year under review, there were three matters of this kind deserving special mention .

Theatre censorship In January 1965, the Arts Council appointed a special Committee of Enquiry to examine th e problem of Theatre Censorship and to make recommendations . This Committee consisted of representatives of the main theatre organizations and of individuals with special interest i n and knowledge of the subject .

Apart from two dissenting commercial managers, the Committee found itsel f unanimous in recommending that pre-censorship of plays should be abolished, subject t o certain safeguards for the interests of managers . To this end, the Committee reverted to the Repeal Bill introduced in Parliament in 1949, as this had the moral advantage of having a Iready won the support of a two to one majority on a free vote of the House of Commons o n Second Reading and had then passed the Committee Stage . (Thereafter, it lapsed for th e technical reason that, being a Private Member's Bill, its progress was automatically cut shor t by the ending of the Session, and could not be reintroduced afresh unless its sponsor ha d again been lucky in the Ballot . )

The Committee, however, proposed the three following modifications to the 1949 Bill :

1 The abolition of censorship for a trial period of five years , with provision of adequate safeguards for the protection o f managements and dramatists on the lines contained in Mr Benn Levy's Censorship of Plays (Repeal) Bill o f 1949.

2 That Clause 4 of the above B i I I which deals with th e representation of living persons on the stage be deleted .

3 That a further clause be added limiting the period during which a prosecution may be commenced against an y manager or owner or a theatre or dramatist or any othe r person directly or ind irectly responsible for or associate d with the production or performances of a play to withi n the first sixteen performances of the play and that no ba n could be imposed until those sixteen performances had taken place.

The Arts Council gave full and careful consideration to this Committee's Report at meeting s held during 1966 and finally agreed to associate itself with the proposal that the presen t system of theatre censorship should be abolished, but to add a recommendation that th e possible advantages of a system of voluntary censorship should be further investigated . The safeguards proposed by the Theatre Censorship Committee were accepted, except that th e Council did not endorse the proposal to limit the permissible period for prosecution or for th e imposition of a ban in terms of the first sixteen performances of a play; and, further, th e Council would substitute in the Bill 'a suitable expert committee' fora Judge in Chambers' as the appropriate authority to give leave for a criminal prosecution.

Subject to these comments, the Report on Theatre Censorship was submitted to the Join t Committee on Theatre Censorship in October 1966 .

Authors and the For many years the Society of Authors has been anxious to promote a situation where th e sale of copyright sale of copyright by an active author-which has already paid tax for a reasonable literary expectation of life-should rank as a capital asset . An amendment in this sense to the 196 6 Finance Act by Sir Edward Boyle was withdrawn when early in 1967 the Treasury agreed to

1 7

receive a deputation representing the Arts Council and the Society of Authors . As a result o f this move, the Chancellor of the Exchequer made the following announcement in his Budge t speech on 11 th April, 1967 :

'A further proposal will help the professional author or othe r creative artist who sells, for a lump sum, the residual rights in a work which has been before the public for ten years or more . He will no longer have to pay tax on the lump sum as if it wer e the income of a single year but, instead, will be entitled t o spread the lump sum forward over a period of up to six years . This will meet the complaint that has been strongly urged i n the past.'

This concession, although less than we hoped for, wil I be of real assistance to many authors , particularly, for instance, those whose income from writing has dropped to a comparativel y low level, and who suddenly have the chance of selling the film rights in an early novel .

Public lending right One of the first actions of the Literature Panel when it was created atthe beginning of 1966 , was to ask the Arts Council to set up a special Working Party to investigate the question o f Public Lending Right . This was done, and a report on Public Lending Right with proposal s for a specific system to be set up in the United Kingdom was presented to the Council by th e Panel in April 1967 . The Council agreed to adopt the Report and to submit it formally to th e Department of Education and Science for consideration . As thesuggestion is that a gran t should be made available from central government funds, legislation can be initiated onl y by the Government . 18

Housing the arts

The Council's 21st annual report Key Year included a Schedule of Housing the Art s commitments which the Council had undertaken during 1965/66 totalling £100,000 ove r and above the grants of £150,000 paid in that year .

In 1966/67 the Council was authorized to enter into fresh commitments, over and abov e those authorized in 1965/66, to a total amount of f :500,000 . Out of the new commitments total the authorized maximum of £200,000 was paid in outright grants, leaving a balance o f £400,000 to be carried into 1967/68 as future commitments .

Fourteen of thetwenty-four grants were paid towards the cost of new schemes and th e remaining ten were additional amounts given towards schemes commenced in 1965/66 . The grants totalling £200,000 can be found in detail at the end of each Schedule 3 of th e Council's accounts for England and Scotland on pages 94 and 107 . A Schedule of the commitments of £400,000 can be found at the end of the Accountant's Notes, on page 69 . The figure does not appear in the accounts since these are amounts earmarked to be offere d out of our grant-in-aid for future years .

The White Paper, 'A Policy forthe Arts', explained that the funds provided for'Housing th e Arts' were'to encourage regional and local authorities to develop their plans in this field . If this has the desired effect, the Government will be ready, when the time comes, to conside r authorizing the Arts Council to enter into substantially higher levels of commitment in future years .' The 'desired effect' resulted in the Civil Estimates for 1966/67 authorizing a commitment for new schemes of £500,000 (as against £250,000 in 1965/66) . The Civi l Estimates for 1967/68 authorize a further £500,000, with provision for paying grants totalling £300,000 in 1967/68, as against £200,000 in 1966/67 .

Even these new figures, encouraging as they are, cannot embrace really large-scale schemes for Opera Houses, Theatres and Art Galleries (to form'cultural precincts'), whether i n Manchester, Edinburgh or other cities . Accordingly, it has been agreed that any additiona l Government funds to be made available to the Arts Council for such projects will be th e subject of separate consideration .

Among the events which have been made possible, in 1966/67, by the use of Arts Counci l funds for housing the arts, a few may be picked out from different parts of Great Britain . The conversion of the Maltings at Snape into a concert hall was the occasion for an exceptionall y distinguished opening of the 1967 Aldeburgh Festival, while the 1967 Chichester Festiva l season has benefited by the additional work on and improvements to the building . In Londo n the Carlton House Terrace scheme will be a major achievement when completed : other significant projects are in hand in Scotland, with the creation of a small arts centre in th e Orkneys at one end of the scale and, at the other, a scheme at Motherwell to construct a concert hall and small theatre in the new civic centre .

Commitments undertaken at present will help to provide new theatres at Ipswich, Harlow , Leatherhead, Chester and Bromley ; all within the next few years.

The Housing the Arts Committee meets during the year to discuss all applications to the fund , and recommends to the Council the allocation of cash grants and commitments .

It has been found necessary to re-allocate monies at various stages throughout the year since, in this period of financial restriction, difficulties experienced in raising matching fund s locally often result in the postponement or cancellation of a scheme. Also the Council is permitted to share expenditure only on a £ for £ basis over the period in which it is incurre d and must ensure that the balance of funds required to meet the cost of the work is available . This stipulation often necessitates an adjustment in the allocation of grants an d commitments. 1 9

Housing the arts is now in its third year. It is interesting to record these years by plotting on a map the sites of projects to which the Counci I has offered capital subsidy . In order to kee p this'up to date'the map includes proposed recipients of cash grants and commitments i n 1967/68 . (These are indicated by an asterisk .)

As the Council has about 200 applications still outstanding it is not surprising that, withi n weeks of the start of the 1967/68 financial year, the whole of the year's cash and commitmen t rations were fully allocated .

20 Housing the arts 1965/66,1966/67 and 1967/68

Englan d 60 College Hill House, Shrewsbury ' 61 People's Theatre, Newcastle-upon-Tyne ' 1 Winter Gardens, Bournemouth 62 Shaftesbury Theatre, Dawlish ' 2 Sadler's Wells Theatre 63 Athenaeum Arts Centre, Warminster ' 3 The Maltings, Snape 64 Bluecoat Society of Arts Exhibition Gallery, 4 Colston Hall, Bristol ' Liverpool ' 5 Camperdown House (Sadler's Wells) ` 65 Commonwealth Centre, Bishop's Stortford ' 6 Adeline Gen6e Theatre, East Grinstead ' 66 New Arts Centre, Stevenage ' 7 Central Hall, Chatham ' 8 New Repertory Theatre, Birmingha m Scotlan d 9 Yvonne Arnaud Theatre, Guildfor d 10 Theatre Royal, Yor k 67 Arts Centre, Kirkwal l 11 Playhouse, Sheffield 68 Festival Theatre, Pitlochry 12 New Repertory Theatre, Ipswic h 69 New Theatre, Dumbarton " 13 Greenwich Hippodrome 70 New Theatre and Concert Hall, Motherwel l 14 Playhouse, Liverpoo l 71 New Arts Centre, Glenrothes " 15 Theatre Royal, Bury St Edmunds 72 Garrison Theatre, Lerwick ' 16 Chichester Festival Theatre 73 New Byre Theatre, St Andrews ' 17 Richmond Theatre 18 Mermaid Theatr e Wales 19 New Repertory Theatre, Bromle y 20 New Civic Theatre, Harlow ' 74 Welsh National Opera Company Headquarter s 21 New Civic Theatre, Chester' 75 Arts Centre, Prestaty n 22 New Civic Theatre, Taunton ' 76 New Theatre,Llangefni • 23 Thorndike Theatre, Leatherhead ' 77 Little Theatre, Wrexham ' 24 Empire Theatre, Sunderland ' 25 Playhouse, Derby 26 Tower Theatre, Canonbury ' 1967/68 proposed cash grants and closin g 27 Maddermarket Theatre commitments 28 Cygnet Theatre, Cannon Hil l 29 Octagon Theatre, Bolton ' 30 New Theatre, Kingston-upon-Hull ' 31 Theatre Royal, Norwich ' 32 Playhouse, Weston-Super-Mare ' 33 New Repertory Theatre, Sheffield ' 34 Morley Colleg e 35 Art Gallery, Malvern ' 36 Dorset County Museum Gallery, Dorchester 37 Towner An Gallery, Eastbourn e 38 Carlton House Terrac e 39 City Art Gallery, Bradford ' 40 An Gallery, Hove ' 41 Rye Art Gallery' 42 Art Galleries, Tewkesbury' 43 Shipley An Gallery, Gateshead ' 44 Public Art Gallery, Royal Leamington Spa ' 45 Whitworth Art Gallery, Manchester * 46 Boston and District Arts Centr e 47 Theatre on the Steps, Bridgnorth 48 Swan Theatre and Arts Centre, Worceste r 49 St Austell Arts Club and Theatre 50 Weymouth and South Dorset Arts Centr e 51 Netherton Arts Centre, Dudle y 52 Bristol Arts Centre 53 Arts Centre, Lincol n 54 Falmouth Arts Centre 55 Little Angel Theatre, Islington ` 56 Shaftesbury and District Arts Clu b 57 Avoncroft Arts Society Hall ' 58 Kenton Theatre, Henley-on-Thames 59 Swindon Arts Centre' 2 1

667

1 3 1 8 26 3 4 38 55 22

Theatre for young peopl e

A plea was recently made at a meeting of the Drama Panel for consideration to be given b y the Arts Council for the special provision of theatre for o/d people . It may well be that there are others who in the face of the repeated emphasis on youth have been made to experience a similar reaction . However, it was only in the last Annual Report that it was necessaryto writ e of a 'life-saving' operation to ensure the survival in 1967 of at least some of the existin g children's theatre companies in this country . It is at this point that this report of furthe r developments is here taken up . It will be remembered that the Arts Council had agreed tha t the Drama Contingencies Fund forthe year 1966/67-in the absence of any specia l allocation in that year being made available by the Department of Education and Science - should be used for this emergency . Five children's theatre companies were therefore give n limited financial assistance at this time following recommendations which had been made b y the Committee of Enquiry whose Interim Report on the provision of theatre for young peopl e had been submitted to and accepted by the Arts Council earlier in the year. Details of thes e grants will be found in the Annual Accounts on page 89 . In the current financial yea r (1967/68) the policy of the Arts Council with regard to theatre for young people has now been established by the setting up of a Young People's Theatre Panel to advise the Council , with an allocation of £90,000, approved by the Department of Education and Science, to b e applied specifically for expenditure in this field.

The first meeting of the Panel was held in January of this year . A full list of its members i s set out on page 5 of this Report . As in the case of the original Committee of Enquiry, the Pane l is composed of individuals actively engaged in the theatre and in education, or both : several people who served on the Enquiry were appointed as members of the new Panel . The Chairman of the Panel (Miss Constance Cummings) and the Deputy Chairman (Mr Hug h Willatt, Chairman of the Drama Panel and previously also Chairman of the Committee o f Enquiry) are both members of the Council and also form a link with the Drama Panel i n addition to Mr Stuart Burge and Mr James Saunders who are likewise members of the two Panels. Following the pattern of all other Arts Council advisory panels two junior member s have been appointed to the Young People's Theatre Panel . The administration of this part o f the Arts Council's work continues to be handled within the Drama Department . All these elements of liaison are designed to ensure that the responsibilities of the Young People' s Theatre Panel are recognized as a vital and essential aspect of the Arts Council's work fo r theatre throughout Great Britain .

In its short life the Young People's Theatre Panel has acquired a unique character . While al l the other advisory panels to the Arts Council certainly draw very widely for their membershi p from within their specialist fields, the Young People's Theatre Panel is exceptional in its gathering together of people from the two differing -though allied-worlds of drama an d education . This friendly confrontation combined with a close and critical interest in th e matters under discussion has already germinated ideas of the greatest value to the Art s Council .

It will be remembered that when the Committee of Enquiry began to set about its task, it wa s agreed that the operation should be divided into three phases . The Committee's Interi m Report to the Arts Council covered only Phases I and I I-the professional children's theatre companies, and the work being carried out for young people bythe existing repertory an d other professional adult companies . The Council's present responsibilities are limited t o those activities included in these two phases . It was agreed that action on Phase I I I -a survey into the field of Drama in Education, Youth Drama, Amateur Children's Theatre, Radio, Tele- vision, etc., together with an investigation into the fundamental needs of children in Drama - should be decided later after consultation with the Department of Education and Science . A survey of drama in education, commissioned by Miss Jennie Lee and carried out by Mr Joh n Allen, H M I, which is now complete, covers most of Phase I I I apart from radio and television .

The achievement at this stage therefore covers the establishment for the first time of a ne w advisory panel for young people and the theatre, and a first allocation granted by the Arts 23

Council for expenditure on this work. This is heartening progress and only part of a majo r development which is taking place throughout the country . It is far beyond the scope of thi s Report to attempt any kind of general review of so wide-ranging a movement, and it is onl y possible to touch on those activities with which the Arts Council is in some way alread y directly associated. Even here there is a limitation, since the grants made from the allocatio n of £90,000 mentioned above are for 1967/68 and not the year under review in this Report, so any preliminary assessment of the benefits of these grants must be held over until next year .

The Arts Council is not alone in forming a special section for young people's theatre . The Federation of Repertory Playgoers ' Societies-which in 1963 passed the resolution tha t finally led to the Arts Council setting up the Committee of Enquiry-now have a junio r partner in the recently formed Federation of Young Playgoers . The Council of Repertor y Theatres has for some time had a Children's Theatre Section where important matters o f common interest are discussed . It should also be noted that at a meeting convened by th e Council of Repertory Theatres and the British Children's Theatre Association in 1966 it wa s decided to form the National Council of Theatre for Young People as a body to concer n itself with the co-ordination and development of this work .

The largest and most comprehensive scheme for young people is at Cannon Hill Park , Birmingham, where Mr John English, thanks to generous support from private, local authorities and central sources, has been able to forge ahead with the expansion of the Midlands Art s Centre catering for interests in all the arts. An impressively equipped studio theatre is now i n operation and the building of one of two full-scale theatres has been started . This autumn , Mr English will be running a professional company playing in repertoire to three differen t age groups. Miss Caryl Jenner has succeeded in finding a permanent base for the Unicor n Theatre for Children at the New Arts Theatre in London where she plans to present season s of plays aimed to please a wide range of young tastes as well as inviting other children' s theatre companies to perform at the theatre . The Everyman Theatre, Liverpool, continues i n its Hope Street premises playing to schools and young people as well as adults . However, the problem of suitable accommodation for young people's theatre remains for the Arts Council a most pressing matter . One of the principal recommendations of the Committee o f Enquiry was the establishment of a permanent children's theatre in London and the ne w Panel has not delayed in setting up a Building Committee which has begun to investigate possible sites .

Much progress has been achieved by many of the adult companies in anticipation of an y grants made by the Arts Council from the 1967/68 special allocation . There has been a determination to go ahead with this work and in many areas the theatres have been greatl y encouraged by the co-operation and financial support of local education authorities . In certain places where help has not been immediately forthcoming from such sources th e theatres have organized activities without special provision of either staff or finance in the belief that it was work that demanded to be done . It is the Arts Council's hope that in tim e all education authorites will come to co-operate with the theatres to the same degree a s those authorities who have been so successfully pioneering in recent years.

The activities undertaken for young people by the adult theatres areas varied as the theatre s themselves. Some, such as the Nottingham Playhouse, now have a long record of speciall y mounted schools tours and special performances in the theatre, financed by the loca l education authorities: in other places, such as Sheffield, Salisbury and Canterbury, rapi d progress has been made in the past year following the formation of groups of actors attache d to the theatres who visit schools with specially mounted programmes (Sheffield's Theatr e Vanguard began this spring with a two-week trial run and will be operating on a full scale thi s autumn) : othertheatres, such as Chesterfield, prefer to concentrate on encouraging schoo l parties or individual schoolchildren to attend performances at the theatre itself in the belie f thatthis provides a better theatrical experience (at Chesterfield £1 membership of a club gives free admission to performances) : others arrange demonstrations and discussions as part of 24

a theatre visit. The Oxford Playhouse is a notable example of success achieved after severa l years' co-operation with local schools . Under Mr Frank Hauser's direction complete days are organized at the theatre for children from local schools who take part in demonstrations a s well as attending a performance . These activities have led to a remarkable revitalizing of th e whole audience at the Playhouse where the company has recently been enjoying ver y successful seasons . The English Stage Company at the Royal Court is winning a new youn g audience by means of a student ticket scheme (100 seats at only five shillings are set asid e at every performance for young people) as well as by special programmes for schools . The Mermaid Theatre is trying to break through the barrier dividing the arts from the science s by a series of plays written round scientific subjects for its Molecule Club for young people . The Belgrade Theatre, Coventry, is now in its third year with the Theatre in Education schem e which has been fully backed from the start by the city's education authority . The Palace Theatre, Watford, another enterprising civic theatre, continues to run a 'splinter group' to visit schools under the direction of an actor/teacher . The Victoria Theatre, Stoke-on-Trent, is also a theatre which has had an encouraging influence on young people in its area .

While selecting a few theatres which have made a particularly strong impression with thei r work for young people, mention must be made of the two major national companies-th e National Theatre and the Royal Shakespeare Company-both of which have won the highes t acclaim from the young and are also fully aware of the need to make special provision fo r them . The National Theatre, in order to bring its productions within the reach of people o f student status unable to afford the normal prices, has launched a scheme called Ne w Audiences with the help of a leading industrialist interested in the arts . The sum of money provided enables the National Theatre to reserve at least nine scheduled evenin g performances a year at which tickets are sold at very reduced prices . These are allocated on a season basis to senior students, enabling them to see three different productions within a relatively short time. The National Theatre reports exceptionally acute response from thes e audiences . For nearly two years the Royal Shakespeare Company has been running it s Theatregoround group which regularly performs in schools, colleges and places without live theatre. This summer it has also played a three-week season at the Aldwych Theatre fitted int o the main repertoire . Leading members of the company perform with this group throughou t the year and much of its time is spent playing in the rural areas round Stratford-upon-Avon .

The dividends repaid to theatres through the active encouragement of young people's interest are incalculable . The Arts Council is also alert to the fact that in theatres where little o r nothing is being done in this respect there is an increasing lack of vitality which can be sense d in everything undertaken . The young have much to give : any theatre which ignores this fact turns its back on the very world it presumes to mirror . Happily such examples are rare. Certainly neither the theatres nor the Arts Council itself can afford to relax their efforts whe n confronted by the likely future demands of young audiences . It would be very sad if th e expectations of the young were not met and the respect in which many of them hold th e drama not adequately sustained . 25

Report on the needs of the subsidized theatre i n Londo n

In 1964 the Drama Panel embarked, at the Council's request, on a study of the needs fo r drama in England in the ensuing five years or so . A year later its Policy Committee produce d a Report covering the needs of the forty or more theatre companies operating outside London . This Report was adopted by the Panel and its recommendations accepted by the Council .

The next task, the needs of the London theatre, took longer. Two years' study led to a Report which was laid before the Council early in 1967 . It dealt with the great changes in the Londo n situation in the last eight or ten years : the work of the English Stage Company at the Roya l Court, the breeding place of new playwrights, new subject matter and new attitudes ; the transformation of the Royal Shakespeare Companyfrom an enormously popular centre o f pilgrimage in the Shakespeare country to a major enterprise, in artistic terms, based o n London as well as Stratford ; the creation at long last and the first highly successful years of our National Theatre Company, housed for the time being in the Old Vic .

On a smaller scale, but symptomatic of the new order of things, was the Mermaid Theatre a t Puddle Dock, the first new theatre building in London since the war, with its adventurou s programme and fresh approach to audiences . Fringe and experimental companies-a lively , if sometimes ephemeral growth-were also studied and their continued support recommended, to be given in as flexible a way as possible, and bearing in mind the hel p many of them receive from local authorities and other sources. They are thought to be of grea t value to the theatre as a whole as well as to localities and to specialized audiences . Consideration was also given to new developments, both of companies and buildings, in th e central and outer areas .

The Report points out that London now has a number of 'theatres' in the full sense of the wor d as opposed to buildings available to producing managements for hire . These are enterprise s supported by public money, and they now occupy a powerful and central position in th e theatre as a whole . In the National Theatre and the Royal Shakespeare Company, in particular , the country has two major enterprises of a type which is new in our theatrical history .

The Report gives considerable attention to these two companies. Both have grown fro m roots in the past. Their histories, finances and methods of organization are studied . Thoug h they are comparable in scale they have different and to some extent complementary functions . Analogies with the Royal Opera House in relation to Sadler's Wells and the National Galler y to the Tate are obvious, but also point the differences. On the one hand, the National Theatre with its representative and widely drawn repertoire (two-thirds British and one-third foreign) has in its first three and a half years more than realized the aims worked out by Shaw , Granville Barker and other campaigners . There are problems, financial and organizational , still to be solved, but the vitality and quality of the artistic achievement is undoubted and th e clamourfor seats at the Old Vic is seldom satisfied . The final aim, the new'two-theatre ' building on the South Bank, remains still, alas, at the drawing-board stage.

With the Royal Shakespeare Company, on the other hand, all the work at Stratford and a quarter of it in London is devoted to Shakespeare, the remainder being a programme mainl y of new plays, often controversial and reflecting, as it should, the outlook of a particula r management . Its large resources make possible achievements on the scale, for example, of the Wars of the Roses orthe Marat-Sade play. The full range of activities planned, or already in being, will only be possible when the Royal Shakespeare Company moves into the theatr e in the Barbican which the City of London is to provide-a large and essentially populartheatr e with a big proportion of seats at cheap prices . Financially and administratively, this Compan y benefits greatly from the buildings, facilities, long experience and solid public support of it s Stratford end . Its subsidy need is, therefore, less but still substantial . Both companies have already achieved great international reputations and foreign tours have been outstandingl y successful. zs

The London theatre, as a whole, still leads and largely dominates the theatre of this country . The growing strength of the provincial centres is doing something to redress the balance . Nevertheless, the London theatres rely on, and serve, a provincial public for a surprisingl y large part of their audiences, apart from their provincial touring . The theatrical profession ha s London as its base, and national coverage is given to its activities by press, television an d radio. These facts seem to justify a little more than one-third of the total drama grant going to support the theatre in London .

The relation, a changing one, between the supported theatres in London and the commercia l theatre of the West End is a topic touched on in the Report . This question and that o f provincial touring need fuller consideration . The Arts Council has now agreed upon th e matters which require further investigation, whether included in previous reports or not, an d has referred them to a committee under Sir William Emrys Williams's chairmanshi p (see p .15, above) . In the meantime, the Drama Panel's Report, like its predecessor, ha s provided the opportunity for an assessment, if only provisional, of the results of subsidy i n the London theatre in the last decade . The Report and its findings suggest that Arts Council money has not been ill spent . It has made possible a type of theatre to which a number o f exceptional individuals have responded-the late George Devine, Sir Laurence Olivier , Peter Hall, Bernard Miles, to name onlythe outstanding and representative figures . The public have responded in their turn . The Arts Council has adopted the Report as an interim an d transitional statement of policy, pending the outcome of the subsequent wider enquiry . 28

Changes in the musical scen e

Coincidentally with new emphases resulting from the Council's improved financial position , or in some cases in consequence of them, the kaleidoscope of the country's musical life ha s had some significant shifts. In opera and ballet, however, it seemed that we needed carefu l consideration of what we already had, before making such decisions as are possible in thes e problem-sown fields about the developments to aim at . The Council therefore called togethe r a committee

'to consider the existing and to estimate the potential publi c demand for opera and ballet indifferent parts of Great Britain; and to consider how far, under existing policies , these demands are being or are likely to be met; and to mak e proposals regarding future policy, indicating the scale o f financial support, both in respect of capital and recurring expenditure, which might be required to give them effect .'

The twenty-two members, who included representatives of audiences as well as persons wit h important experience in the provision of these complicated art forms, started to meet in Ma y 1966, under the joint chairmanship of Lord Goodman and Lord Harewood, and received a wealth of written evidence, supplemented in many cases by oral evidence given to th e Committee as a whole, orto its opera or ballet sub-committees . An additional group of persons studied the special Scottish opera and ballet problems.

In the meantime one important change had taken place in the ballet world . The well-wishers of both parties, who had thought that a marriage between London's Festival Ballet and Balle t Rambert would be mutually beneficial, had to admit their match-making proposals wer e unacceptable . The Ballet Rambert thereupon embarked on a renewed life, as a smalle r company, with aims more in line with those of its pioneering days at the Mercury Theatre tha n the continuous larger-scale touring of recent years had permitted . The opening of the Adelin e Gen6e Theatre at East Grinstead was another significant event in the ballet life of this country .

It is unnecessary to refer to the achievements of the Royal Opera House, Covent Garden, and Sadler's Wells Opera, which produce their own annual reports . In the field of 'Opera for All' , however, it should be recorded that Philip Cannon's one act opera The Man from Venus, to a libretto byJacqueline Laidlaw, commissioned bythe Council, was performed in a double-bill on twenty-one occasions .

In the orchestral world the implementation of some of the recommendations of the'Goodma n Report' has had consequences beyond the immediate London concert scene, as had bee n expected . The London Orchestral Concert Board has given, from funds provided by the Art s Council and Greater London Council, guarantees for concerts by the four symphon y orchestras in the Greater London area, and grants of £30,000 each (instead of the £40,00 0 recommended bythe Report) towards administrative costs, payments to players for holidays , sickness benefits, and pensions . This has led to the provision of two weeks' paid holiday fo r the players, and detailed, though so far inconclusive, discussion of pension schemes . The greater stability thus ensured has, however, resulted in some difficulties overthe provision o f concerts in the Eastern Authorities Orchestral Association area and in South-East England .

The regional symphony orchestral managements had expected that the betterment o f conditions for their London colleagues would make even stronger the metropolitan lur e which leads so many of their good players to try their luck in London . Negotiations were therefore undertaken to secure an increase in minimum salary for the regional orchestras ' standard contract; an interim increase from £20 to £25 per week was agreed, but delays ove r the provision of the necessary additional funds held back the actual payment of it, and it was eventually caught by'the freeze', so that the benefit was not effective for the players unti l 1 st October, 1966 . 29

The opening of the Greater London Council's Queen Elizabeth Hall, seating 1,100, has mad e regularly available a suitable building for chamber orchestras, choirs and ensembles ; it will take some time for performers and audiences to learn how to make the best use of it . The ne w Purcell Room, seating 372, is now in some ways in direct competition with the Wigmore Hall , which seats 500, but it may be found that there is ample demand for both . The Arts Council , which holds the lease of the Wigmore Hall, and subsidises its operation to some extent, mus t expect to make some changes in policy there ; its new Manager, Mr William Lyne, inherits a n important tradition from Mr H . T. C . Brickell, who retired in December 1966 after forty-eigh t years' fine service to this Hall .

The title Changes, given by Gordon Crosse to his work for choir and orchestra, commissione d for the National Federation of Music Societies, which received its first performances b y leading choirs in England, Scotland and Wales during the year, seems appropriately timely . He uses in his text inscriptions found on bells, and reflects in his'nocturnal cycle'theseason s of life. Change-ringing is a peculiarly English activity-aural pattern-making from th e available group of bells; the changes that can be rung in our musical life with increasin g means should enrich every aspect of it . 30

Poetry in the making

When, four years ago, it was announced that the Arts Council had reached agreement wit h the Trustees of the British Museum about setting up a manuscript collection (see Art s Council Annual Report for 1962/63) there were some people who questioned the financin g and the timing of the scheme . The generosity of the Pilgrim Trust in producing the initia l purchase fund was not in question; but in view of the intensive collecting that had gone o n for so many years in North America, particularly on the part of munificently endowe d universities, this move to stem the manuscripts drain from this country was apt to produce th e comment, 'Too little and too late' .

It is true that, if one wishes to study the poetry of Robert Graves and Edith Sitwell in its variou s drafts, one must turn to the libraries of the universities of Buffalo and Texas, that Buffal o has a rich collection of Dylan Thomas manuscripts, while Harvard has the honour of housin g an important group of manuscripts and typescripts by T. S. Eliot. But scholarship may find it irksome that the material in American hands, though well cared for from a preservatio n standpoint, has not always been properly catalogued, and is often not accessible to scholar s when it is part of university policy that it should be withheld for purposes of intramura l research .

In these circumstances, the new collection started jointly by the Arts Council and the Britis h Museum has done well to obtain not only representative coverage of poets like Walter de l a Mare, Edwin Muir, Edmund Blunden, William Plomer, C . Day Lewis, John Betjeman, Ro y Fuller, Dylan Thomas and Ted Hughes, but also collections in depth of the rough papers of Edgell Rickword, W. H. Auden, Vernon Watkins, Keith Douglas, David Gascoyne and Phili p Larkin . In the case of Auden, Gascoyne and Larkin, these consist entirely of notebook s covering a considerable period of these poets' working life, and containing an importan t quantity of unpublished material .

All this, together with other material in the collection, was shown to the public for the firs t time, when the British Museum mounted an exhibition called Poetryin the Making in th e King's Library, from April to June 1967 . The publication of an illustrated catalogue bearin g the same title, by Turret Books, was planned to coincide with the exhibition . This carried introductory essays by C . Day Lewis, T . C. Skeat and Philip Larkin, and the catalogue itsel f was compiled by Jenny Lewis . The number of poets represented in the collection at Apri l 1967 was fifty-seven; and of these thirty-five were featured in the exhibition . That public interest was successfully aroused is evident from the fact that over 27,000 people, includin g many schoolchildren, visited the exhibition during the eight weeks it was open .

A list of the 1966/67 acquisitions, together with the names of the members of the Art s Council 's Poetry Manuscripts Committee, is given in Appendix C . It should be added tha t this collection is housed in the Manuscripts Department of the British Museum, where items are available on request, subject to the usual conditions imposed by the British Museum .

In the course of time, this collection will grow in importance as it becomes more completel y representative of the poets writing in the twentieth century ; but it would be wrong to think o f it as being the only collection of its kind . It is to be hoped that its example will stimulate university libraries and public libraries to consider how far they can acquire manuscrip t material which may have relevance to their particular objects or be of special interest to thei r locality. Appreciation of the value of such material ought to be valid at local and regional, a s well as national, levels .

07 1 " i I

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I,11 _ 33

Scotland

There is an old saying that you can give a dog a bad name and hang him . Perhaps, too, if yo u give him a good one you can expect great things of him . Anyway, underthe new Roya l Charterthe Scottish Committee of the Arts Council of Great Britain became the Scottish Art s Council in February 1967 and thus ended the year under review with a good new name .

The year started well, too, with an allocation of £450,000 and all systems go . The financia l crisis of July 1966 led to a battening down of the hatches and a lashing of the tiller in cas e worse weather was ahead : but now, at the time of writing, we have an allocation of £630,00 0 for 1967/68 and the storm appears to be passing . The precautions taken in the latter part o f last year, however, explain the substantial sum unspent and carried forward into this year i n the accounts .

The Prices and Incomes Standstill and the Selective Employment Tax brought financial an d administrative anxieties (the Scottish National Orchestra was deprived for six months of a much-deserved pay rise for its musicians) but the very high proportion of artistic enterprises which were able to reclaim the tax, as Charities, was an indication of the revolution in th e organization of the arts which has occurred in the past twenty years .

Housing the arts The shortage of capital placed another hazard before schemes projected underthe Council' s 'Housing the Arts' programme in Scotland . Local Authorities seldom move fast and the thre e major projects in Scotland seem little, if at all, nearer realization than they were a year ago .

The Cultural Centre in Glasgow, which was to include a concert hall, a civic theatre, a repertory theatre, a gallery and restaurant, came under fire from the Royal Fine Ar t Commission for Scotland and then from the Glasgow public . The City Fathers wer e reasonably offended at having so generous a gift horse submitted to a damning dental surve y and a difficult situation was eased only by the decision to buythe King's Theatre from Howar d and Wyndham as a Civic theatre thus edging the Centre back towards the melting pot .

The Scottish National Orchestra, the urgency of whose need for a new permanent home ha s not lessened in twelve months, is to be rehoused in 1968 in the City Hall pendin g developments .

In Edinburgh, the demolition of the Synod Hall buildings has left a gaping hole in the groun d bravely labelled, 'Site of the New Royal Lyceum Theatre', and the opera house and theatr e which it is intended will be built there await an indication from the Government of substantial help with the finance .

Perhaps the greatest disappointment of the year, however, was the decision of Dunde e Corporation at the eleventh hour not to proceed with the plan to convert the Caird Hall, a n admitted white elephant with 3,500 seats, into two buildings which would house both th e gallant Repertory Theatre and, in a concert hall cum opera theatre, such notable visitors a s the Scottish National Orchestra, Scottish Opera and the National Theatre . The Arts Counci l had been prepared to offer up to £300,000 towards the total costs, in the region of £750,000 . It is to be hoped that Dundee will think again .

During the year, on the recommendation of the Scottish Arts Council, the Capital Grant s Committee offered financial support to Dumbarton, for a little theatre as part of an arts an d community centre, to Motherwell, for a theatre and concert hall as part of a new Civic Centre , and to Glenrothes, for a proposed little theatre . Grants for 1967/68 were offered to Lerwick , for improvements to the Garrison Theatre and to St Andrews for a new building forthe Byr e Theatre.

It is perhaps worth noting that the Scottish Arts Council's interest in these projects is no t limited to the question of capital expenditure . Most of the professional ensembles which wil l perform in the buildings will be in receipt of revenue grants or other subsidies from th e Council . In the case of concert halls and theatres for opera it is vital to the health of th e Scottish National Orchestra and of Scottish Opera (bodies now receiving grants in the regio n of £100,000 and £75,000 respectively) that they should have adequate places in which to perform . The national interest is as great as that of the various municipalities.

Local authorities A Conference on Loca/AuthoritiesandtheArtswas organized by the Scottish Educatio n and the arts Department in May 1966, at Peebles . While a number of brickbats and a few bouquets were thrown at the Arts Council, some of them deserved, and the Chairman had to remin d delegates that the aim of the Conference was not to advise them how to squeeze money fro m someone else, but to help local authorities to spend some of the resources available to them , it was agreed that the Conference had been useful and had contributed to further co-operatio n in the future . A Report of the Conference was published by the Scottish Educatio n Department.

Education and the arts A number of efforts were made during the yearto improve liaison and co-operation betwee n the Scottish Arts Council and those involved in education . The Director addressed the conferences of the Directors of Education of Scotland and of the Scottish Headmasters ' Association and had talks with a special arts committee set up by the Educational I nstitute o f Scotland .

Literature The assumption of a responsibility for literature as well as the other arts led the Scottish Art s Council first to convert its Play Panel into a Literature and Play Panel and latterly to form a Literature Committee on the same basis as its Music, Drama and Visual Arts Committees . (These Committees in Scotland consist only of members of the Scottish Arts Council . Advisory Panels, drawn from without the Council, also exist in some fields to help the Counci l in certain aspects of its work .)

The most cursory glance at the field of literature in Scotland reveals that there is much amis s and there should therefore be much that the Scottish Arts Council can do . Many importan t works of Scottish literature are unobtainable, or virtually so . As Scottish publishers have been bought up by English publishers who have been bought up by American publishers, it ha s become progressively more difficult to have published a book of Scottish interest beyon d tourism. There is a great shortage of good critical writing, both academic and journalistic, i n Scotland . There is no critical literary magazine . These and other weighty matters have occupied the Scottish Arts Council duri ng the year but their solution will neither be easy no r rapid .

The two volumes of Scottish Poetry published by the Edinburgh University Press under th e Council's sponsorship were well received and grants were offered to Lines Review , Poor. Old. Tired . Horse, and Gairm. Bursaries were given to Norman MacCaig, Ian Hamilto n Finlay and lain Crichton Smith.

To signal the Scottish Arts Council's interest in literature and in the hope of stimulating mor e public awareness, a prize of £1,000 was offered for a work of prose fiction by a Scottis h writer of forty-five years of age or under . The judges, Professor David Daiches, Edwi n Morgan, Neil Paterson and Douglas Young, awarded the prize to Alan Sharp for his novel A Green Tree in Gedde.

Drama The theatre in Scotland mourned the deaths of Duncan Macrae, its leading actor, and o f Marjorie Dence who for more than thirty years had been the proprietor and (with Davi d Steuart, who happily remains as Associate Artistic Director) mainstay of the Perth Repertory Theatre. Under the terms of Miss Dence's will the Scottish Arts Council was given an optio n to purchase the theatre .

While the Council took the view that a wider use of the theatre in relation to its communit y might be achieved if it were municipally owned, and discussions have taken place with a special subcommittee of Perth Town Council, there are many legal processes to be gon e through before any question of purchase can be decided . In the meantime the Scottis h Arts Council has agreed to support the existing Committee of Management in their runnin g of the theatre for a further year .

Mr lain Cuthbertson has been appointed Theatre Director and has produced an imaginativ e and adventurous scheme by which the theatre can be continued and developed in such a wa y as to be a source of entertainment and recreation not only for the people of Perth but for th e whole country. This bold experiment in the arts at Perth will be watched with the greates t interest during the coming year .

There were changes in Edinburgh where Mr Tom Fleming resigned, his inaugural period at the Royal Lyceum Theatre ending with a colourful production of The Burdies during the Festival and a performance before Her Majesty The Queen and The Duke of Edinburgh of The Life of Galileo by Brecht . Mr Clive Perry, who succeeded Mr Fleming, has been abl e structurally to reduce the size of the theatre, making it agreeably intimate, and has begu n steadily to buildup an interested following in plays of welcome diversity and of a hig h standard of performance .

The Citizens' Theatre in Glasgow continues to run its two theatres under its two directors, Michael Meacham and Michael Blakemore, achieving productions of the highest quality an d interest. At the larger theatre Who'sAfraid of Virginia Woolf, Brecht's Visions of Simon e Machard and Lowell's Phaedra were in their own ways theatrical events of some magnitude , and at the Close Theatre, Olwen Wymark's Triple Bill brought invitations to the coming Edinburgh Festival, to Poland and to tour in Europe forthe British Council .

With the Close Theatre in Glasgow and the Traverse in Edinburgh, Scotland is exceptionall y rich in mini-drama . Undera new Committee and after an Annual General Meeting whic h must rate as one of the most dramatic, and occasionally farcical, happenings in Scottis h theatrical history, the Traverse settled down to a year of consolidation, notching up at leas t two notable premieres, David Storey's The Restoration of Arnold Middleton and D. H . Lawrence's The Daughter-in-Law . At the last moment the troubles in the Middle East stopped the theatre's first overseas trip, to play Mourning Becomes Electra at Baalbek.

Pitlochry had a good season graced by the return to Scotland of Sophie Stewart . Dunde e held on in its converted church, hoping for betterthings, and the Byre in St Andrews began t o plan for a new home. There was drama from outside, too ; the National Theatre brought The Royal Hunt of the Sun and MuchAdo to Glasgow and Aberdeen, and the Edinburgh Festiva l brought the Piraikon Company from Athens with the remarkable Mme Vergi, and Po p Theatre with the no less remarkable Miss Cleo Laine and Mr Jim Dale .

One element was missing from an otherwise salubrious scene . The indigenous dram a entered, very late on cue, only with Mr Stewart Conn's l Didn'tAlways Live Here in April 1967. The Scottish Arts Council has long offered encouragement to theatres and writer s contemplating new plays . In reviewing its schemes for the promotion of new drama i n Spring 1967 the Council has now taken the view that theatres in receipt of very larg e subsidies should be able to incorporate an adequacy of new plays in their normal repertoir e without further subvention . It does, however, still hold a brief for the local writer and the rules

have been rewritten to confine the schemes to authors resident in Scotland or of Scottis h origin . On these terms it has been possibleto increase the financial inducements offered . On e cannot buy a writer back from the Venusberg of television scriptwriting but one can to som e extent reduce the at present ludicrous anomaly whereby television pays at least twice as muc h for at most half as much work as does the living theatre .

Art I n last year's Report it was mentioned that the Scottish Arts Cou ncil's Gallery at 11 Rothesa y Terrace had had to be absorbed for office purposes . The lack of a gallery hampered th e Council's exhibition activities throughout the year under review . Through the kin d co-operation of the Lady Artists' Club in Glasgow, however, the Scottish Arts Council ha s now been able to acquire a lease of the Club's fine gallery in Blythswood Square and it is hoped to open it for Arts Council exhibitions in August 1967 . It is also hoped that the Counci l will have a new gallery in Edinburgh before too long, thus allowing exhibitions to be show n in the two main cities month about as well as, in many cases, throughoutthe country .

The retrospective exhibition of paintings by Henry Lintott sadly became a Memoria l Exhibition when the painter died . The Edinburgh Festival exhibition of works by Alan Davie and William Gear was less well attended than might have been expected but, right at the en d of the year, the Welsh Arts Council's Structure '66 exhibition, arranged among the foliage i n the magnificent Kibble Palace glasshouse in the Botanic Gardens in Glasgow, attracted wel l over 20,000 people, including those who came to the two evening openings with floo d lighting and cool jazz.

Two exhibitions marked successful exercises in co-operation with other bodies, the mos t fruitful source of advance in the arts as elsewhere . The Educational Institute of Scotland an d the Council mounted an exhibition of Pictures for Scottish Schools and many education authorities brought their chequebooks . Scotland has been late in developing this excellen t enterprise-although some education authorities have been buying pictures for many years - but the initial exhibition gave hope that it might become a regular event and progressivel y involve every authority in the country.

On the suggestion of the Scottish Design Centre a substantial number of pictures from th e Scottish Arts Council's collection were incorporated in a large touring exhibition o f industrial design, Trend 67. The pictures were shown both in the context of furnished room s and individually on screens . Attendances, particularly of young people, have been very larg e and considerably higher than one would expect for a normal art exhibition .

The Scottish Arts Council has continued to tour smaller exhibitions up and down the country and is trying step by step to help to improve the galleries in which they are shown . A complete list of exhibitions during the year is given on page 55 .

The Public Sculpture Scheme, launched last year, continued to provoke considerable interes t but, as with public buildings, the path between the conception and the execution ofte n proved a stony one. However, the first fruit of the scheme, a gay waterfountain in the Tow n Centre at Glenrothes, should be glittering in the autumn sun before these words are printed. Three maquettes were obtained for a piece of sculpture on the seafront in Prestonpans an d the final commission has now been placed with Mr Leslie Chorley .

To increase interest in, and publicity for, the Scheme, the Scottish Arts Council ran a conference during the Dunfermline Festival associated with the fine Open-Air exhibition o f International Sculpture in the Pittencrieff Park, and later arranged, through another fruitfu l liaison, this time with the National Trust for Scotland, that four groups of sculptures from th e exhibition should be shown through the summer at four of the Trust's properties, Crathes , and Culzean Castles, Falkland Palace and Inverewe Garden .

As the scheme seems to be working well it has been decided to start a similar scheme fo r mural decorations . Two grants have already been made .

The Scottish Arts Council co-operated with Edinburgh Corporation and the Films of Scotlan d Committee to sponsor a film on the New Town of Edinburgh to coincide with the bicentenary of Craig's original plan forthe New Town .

Music These are stirring times among the big battalions of music in Scotland . That Alexande r Gibson should be made a CBE gave great pleasure everywhere and seemed fitly to mark a year in which the Scottish National Orchestra again opened the Edinburgh Festival, repeate d its much-praised performance of Mahler's Eighth Symphony, made its first visit to the Londo n Proms, performed Robin Orr's Symphony and Mahler's Das Lied von derErde, with Jane t Baker, at the Festival Hall, and supported Scottish Opera in its most ambitious season wit h twenty-nine performances in four cities .

The orchestra gave the British premi6re of Henze's Third Symphony during its main season a s well as the Scottish premi6re of Richard Rodney Bennett's Symphony, and Sir Michae l Tippett conducted in a number of concerts including several for schools . Aberdeen had its first performance of the Britten War Requiem and Glasgow its hundredth of Messiah from the Glasgow Choral Union . The successful recording of two Sibelius Symphonies th e previous year was followed up with one of Sibelius Tone Poems this year .

Scottish Opera's 1966 season, Fa/staff, Die Walkiire, Faust and Albert Herring, has since paled by comparison with the 1967 season just completed, when attendances were in th e 90 per cent-and-over range and the critic of the Financial Times described Cosifan Tutte as the best Mozart opera production he had ever seen . The other operas were Das Rheingold, Otello, La Boh6me and Albert Herring and all were widely praised .

Scottish Opera also took over the administration and artistic direction of one of the Art s Council's Opera forAll groups and had a successful launching in the old theatre in Dumfrie s in which Burns sat, although it is now much changed . More Opera for All performances tha n ever before were given in twenty-five places ranging from Lerwick to Campbeltown (the firs t visit and an audience of 641) .

The Report of the Opera/Ballet Enquiry is still awaited but a special committee set up t o assist the Enquiry in studying the situation in Scotland gave consideration to the possibilit y of setting up a fully professional ballet company of the highest standard in Scotland . The question has not yet been discussed by the Scottish Arts Council but if Scottish Opera is t o continue to expand and if there is ever to be a Scottish Ballet there is going to be a greate r demand on orchestral time than the present Scottish National Orchestra can meet .

The expansion of the orchestra to a nominal ninety-six players has to some extent alleviate d the situation in that it can divide from time to time into two for particular purposes, but th e availability of an orchestra for symphony concerts, chamber concerts, opera and ballet i s likely to be one of the major problems in the arts in Scotland over the next five years.

The Glasgow Cathedral Choral Society gave the Scottish premi6re of the work commissione d bythe National Federation of Music Societies from Gordon Crosse, Changes. The Joint Allocation Committee committed nearly £4,000 towards the professional costs of about on e hundred concerts given by thirty-eight aff iliated societies . With the aim of rationalizing the relationship between the Scottish Arts Council and the NFMS in Scotland it has been agree d that Music Clubs promoting for the most part fully professional concerts of Chamber Musi c shall in future come directto the Council for grant aid, and all essentially amateur societie s presenting choral or orchestral concerts shall receive such aid only through the Federation .

The Scottish Arts Council's own directly provided activities continued to bring performance s of the highest standard to every part of the country . New Arts Guilds, including those a t Callander, Dollar, Hamilton, Crieff, Bo'ness and Glenrothes, began with considerabl e success and the total number of performances went up from 258 to 286 . The Scottish National Orchestra divided itself and dispersed its activities to the tune of fifteen concerts , attended by 4,500 people . Susana and Jose had a widespread tour which could only be called triumphal with audiences of 404 in Dornoch, 635 in Dingwall, 659 in Elgin and 1,076 , fortwo performances, in Forfar . The Hogarth Puppets had a record average audience of 40 9 (mostly children) and the drama tours, The Lady's Not For Burning, The Schoo/for Wives and There Was a Man, were all well received .

The directly provided activities occur mainly in rural areas, but there are in the cities ne w housing areas as large as a fair-sized market town and during the year the Scottish Arts Council initiated a scheme to offer concerts in Community Centres in such areas . Three series of concerts in the Pilton, Pentland and Leith areas of Edinburgh were given as an experiment, the principle being to make no artistic concessions but to present a programme of varied but short pieces with a longish interval for coffee and biscuits during which the performers wer e encouraged to join the audience . At the first concert in Pilton, Ravel's Chansons Madecasses, sung by Eilidh McNab of the London Concert Group, perhaps made the strongest impression . The experiment will be extended this year and the intention is to offer, as a bonus to the loca l concerts, a ticket for a major concert, probably by the Scottish National Orchestra, at the end of the season .

Festivals The Edinburgh Festival remains Scotland's greatest jamboree of the arts each year, and i n 1967 will celebrate its coming of age . The 1966 Festival featured works by Schumann an d Berg, including the latter's operas Wozzeck and Lulu. The increasing part played in the Festiva l by the Scottish National Orchestra, the Scottish Festival Chorus and, in 1967 forthe firs t time, by Scottish Opera, as well as the frequent appearance of Scottish companies on th e drama side, is surely a sign of liveliness in the arts in Scotland . No one has suggested that th e inclusion of these bodies has in any way lowered the Festival's high international standard . At Ledlanet, Mr John Calder's little Festival offered PierrotLunaire and a splendidly apt production by Ande Andersen of The Turn of the Screw. The Festivals in Stirling, Montros e and Aberdeen were joined by an anniversary one in Cumnock .

Scotland has often looked backwards at lost battles and Calvinist victories and through them to a dimly remembered golden age of makars and musicians and dancings in the streets . The present Report perhaps suggests that this is no longer necessary . A living dog, with a good name, is better than a dead lion .

Appointments and MrT. Grainger-Stewart, who had been associated with the Scottish Committee of the Art s retirements Council since 1949, first as Assessor for the Secretary of State for Scotland and the n Committee member and Acting Chairman, retired in December 1966 as did Mr Georg e Geddes . Mr Neil Paterson and Mr John Boyle were appointed to succeed them .

Staff Mr John Milligan, Art Assistant, and MrAlasdair Skinner, Literature and Drama Assistant , joined the staff during the year.

Wales

Introduction The change of title introduced in the new Charter reflects more accurately than the old th e measure of autonomy which Wales has always enjoyed . Little else is changed and this, i n turn, reflects the breadth of opportunity which has always been available . The increased grant increases the possibilities of the arts in Wales.

The role of the Welsh Arts Council is obviously determined by the artistic situation in Wale s and, although this has improved in the last few years, many weaknesses remain . There is stil l an uneven tradition, a shortage of accommodation appropriate to the various arts, and a lac k of reasonably sized professional performing companies and organizations .

For too long the dominance of the amateur tradition and standards has deprived Wales of the full benefits of its own talent . To be a professional meant having to go away for training and a career. Although the situation has improved, especially in the visual arts, the improvemen t has been insufficient to transform the scene . Wales needs an opera company on a permanen t footing, a symphony orchestra, a national theatre, and at least one art gallery capable o f holding large national and international exhibitions.

A national theatre plan, part of which will be concerned with a travelling theatre of hig h quality production and physical environment, is necessary . An opera company offering not only grand opera, but also chamber and miniature opera, is also required . A full-tim e professional chorus from the opera company employed in a programme of concerts, over an d above the formal role, would indirectly influence the standards of Welsh amateur chora l singing . A full-time Welsh symphony orchestra would be employed in conventional concerts and in opera . The education services would also benefit by the availability of the orchestra an d its individual members . A large national gallery would introduce into Wales the examples o f new developments in the visual arts as well as international exhibitions of the kind and scal e shown in the Tate Gallery and at Edinburgh

It is doubtful whether Welsh resources will prove sufficient to maintain such a wide range of artistic activities and large professional organizations without careful rationalization . The present system, which provides entirely separate administration and sphere of activityt o education and broadcasting for example, is not helpful to the needs of a comprehensiv e policy and high standards . It is essential that there shall be a broad national policy for the art s which will take account of the ambitions and resources of all organizations relevant to th e arts.

In the present situation it is essential that the Welsh Arts Council act as the catalyst . It must seek to bring together all the relative authorities and organizations to ensure that all availabl e resources are exploited to their maximum potential, without unnecessary duplication . The Council must continue to encourage the many streams of creative effort which already exist, individual, regional and national. It must extend the range of activities so that new art forms are included . There must be a willingness to accept art forms which exploit new technologica l resources. New means must be found to disseminate the arts, to remove preciousness an d make the arts intelligible and necessaryto the majority.

The successful launching of the North Wales Association for the Arts this year, and th e prospect of similar associations in East and West Wales, will do much to encourage the arts i n the region and introduce local government initiative and commitments in the arts . Such regional associations would help to bring about a marked enhancement of the whol e environment for living . People would be presented with a wider range and rising scale o f opportunities to enjoy the arts . Only in such a climate will the larger art organization s flourish .

Art The members of the Art Committee are :

Alex J . Gordon Colonel W . R. Crawshay Professor J . R . Webster R. L. Charles Maurice Cooke ProfessorA . L. Cochran e Lady Lucy Dynevo r Arthur Giardell i Tom Hudso n Alan Lipma n Gordon Redfern Miss Jasia Reichard t John Wright Colin Jone s

General Conventional exhibitions of paintings and sculptures tucked away in diff icult-to-find , adapted rooms are an inadequate reward for the efforts of the artists and the exhibitio n organizers . In Wales, a travelling exhibition can rarely retain an organic wholeness as i t moves from a civic art gallery to a converted chapel or the corridors of some library . The continuous conflict of painting and exhibition environment dilutes the significance of th e work of art . Nor can it be anticipated with certaintythat pictures will be loaned to exhibitions because of these conditions, so that too frequently preparatory research an d inquiry go unrewarded and exhibitions fail to match the ambitions for it .

Didactic exhibitions In the circumstances and within a society without a visual tradition and inexperienced in th e visual arts, one obvious need is for exhibitions of a'didactic' nature, explanatory exhibition s introducing works of art or themes by way of text and illustration . More of an educative exercise than a conventional exhibition,'Background 1', presented in 1965/66, showed ho w necessary this kind of exhibition is and it proved sufficiently successful to be followed by a variation of the original exhibition using reproductions and prints which show the influence o f environment on the works of the four contemporary painters concerned : Merlyn Evans, Ivo n Hitchens, Victor Pasmore and Alan Davie . Another exhibition of this kind is being prepared .

Structure'66 ' One of the most fruitful developments in modern art has been the blurring of hard and fas t distinction between painting and sculpture . The incorporation of objects into painting has le d to a new awareness of texture and shows fresh possibilities in the wall-hanging relief . Sculptors have been intensely concerned with matters such as space that had hitherto bee n the preserve of the painter . . .' (Alan Bowness) .

This fact has not been recognized in open competitions in Britain, and so the Art Committe e of the Welsh Arts Council decided during the year to hold a major competitive exhibitio n which incorporated these significant developments. One of the terms of reference for th e exhibition was the exclusion of 'work in which space or mass is secondary or illusor y', i.e. exhibits had to employ actual spatial factors and, to overcome the obvious problem o f description, it was agreed that exhibits should be called 'structures' rather than sculptures . 'The old "no-man's land" between painting and sculpture has been thoroughly populate d with a range of structures varying from light to mass, and space to solid, all with chromati c variants of ideologies . In Britain particularly, three-dimensional work has demonstrate d great vitality, in fact it is probably in this area that Britain makes its first profoun d contribution for a long time to art of the world . . .' (Tom Hudson) .

Three selectors were chosen : Nigel Gosling, Douglas Hall and Alan Davie . The greatest diff iculty was anticipated in receiving and storing vast numbers of entries but this was over - come by limiting initial submissions to photographs and colour transparencies with written

information concerning the dimensions, materials and the transportability of the structures . Some 600 photograph entries were received, 101 were selected for actual submission and , of these, eighty-one were chosen for exhibition in the National Museum of Wales an d the grounds of Cardiff Castle . The exhibition was opened on 15th June, 1966, by Mis s Jennie Lee . The first purchase prize, £1,000, was awarded to Roland Pich6 for his paintin g Deposition . The second purchase prize went to Bruce Taylor for his King and Queen . Eight subsidiary prizes were also awarded . A touring exhibition of thirty works was arranged and this has been shown in London, Glasgow, and elsewhere .

Poster art The absence of suitable art galleries and an abundance of advertising sites is a feature o f Wales . To encourage the showing of art, despite the handicap of insufficient an d inadequate galleries, is essential if the recent impetus in the visual arts is to be maintained . Adapting the truly public art gallery of the advertising holdings is one way and a scheme ha s been initiated which does just this . Commissions have been offered for printed designs whic h will be shown on about 300 sites in towns and villages . These designs will be in two size s (approximately 20 ft by 10 ft and 6 ft 8 in by 10 ft) and will be changed regularly . The venture has attracted attention in the press at home and abroad .

Music The members of the Music Committee are :

lorwerth Howell s Professor W. J. G . Beynon Kenneth Loveland Christopher Cor y D. W. Davies DrAlun Hoddinott Haydn Thoma s Froom Tyle r William Mathia s Graham Thomas

Opera The Welsh National Opera Company is now in its twentieth year and has a repertoire of thirty operas. Somehow it manages to provide excellent performances even though it has its rehearsal rooms in one building, its wardrobe in another, its workshops in yet another, and its scenery store more than five miles away from the other buildings, all of which ar e inappropriate to their present uses . But with help from the Housing the Arts Fund an d monies from local government, the Company has recently acquired a four-storeye d warehouse which it is adapting at a cost of approximately £120,000 to serve as headquarters . This should meet almost all foreseeable requirements .

The Company's ambition is to increase the number of performances it gives . At present it is busily engaged in equipping itself with a satisfactory backstage establishment as a necessar y prelude. I n the past, it has benefited immensely by having an amateur chorus of exceptiona l quality and fidelity. Without them, the Welsh National Opera Company could not hav e attained the privileged position it has in the opera scene . Any increase of performances, however, will make an impossible demand on the present chorus and it is now the polic y of the Companyto engage a professional chorus which will undertake a large part of th e work.

The present chorus, however, will be retained and used as effectively as before . With bette r rehearsal and workshop accommodation, a comprehensive production staff and a professional

chorus, it will become possible for the Company to increase its performances three-fol d during the next few years .

One of the highlights of the year was a production of Grace Williams' new opera The Par/our which was shown during the two Cardiff and Llandudno seasons .

Orchestral concerts During the year tours were arranged for the Prague and English Chamber Orchestras, th e Munich Philharmonic Orchestra, Halle Orchestra, Royal Liverpool Philharmonic Orchestra , New Philharmonia Orchestra, Philharmonia Hungarica, and the Northern Sinfonia Orchestra . There are now fifteen centres where either chamber or full symphony concerts are provided .

Eight international recitals were arranged bythe Welsh Arts Council, with the supporto f Cardiff City Council, atthe Reardon Smith Lecture Theatre in the National Museum of Wales. Among the artists who appeared in the series were Nathan Milstein, Vladimir Ashkenazy , Peter Pears and Benjamin Britten. There were also recitals bythe Borodin String Quartet an d the Berlin Philharmonic Octet.

Young Welsh Often young singers find it difficult to obtain concert engagements at the beginning of thei r singers' competition professional careers. The feature of this competition is that, in addition to a prize of £75, th e Welsh Arts Council will offerthe winner at least ten concert engagements in Wales . These may include concerts with member choirs of the National Federation of Music Societies , with music clubs, and with visiting orchestras . The name of the runner-up will also be noted for recommendation to concert-promoting organizations. Preliminary auditions forth e Young Welsh Singers' Competition were held at the Wigmore Hall in London and at th e Reardon Smith Lecture Theatre, Cardiff. The competition was open to singers under thirt y years of age, born in Wales, living or working in Wales or of Welsh parentage . There wer e thirty-two entrants and the panel of adjudicators chose four to appear in the final .

Day school for A series of lectures was given by Peter Gellhorn, Director of the B BC Chorus, at a day schoo l conductors of male attended by conductors of male choirs. One session attended by several young Wels h choirs composers was given over to a discussion on contemporary compositions for male choirs .

Bursaries Howard Rees, a composition student at University College, Cardiff, has been awarded £35 0 to study and work for one year with the Paris Chamber Soloists at the American Centre i n Paris.

David Gwynne, at present on contract with the Welsh National Opera Company, has bee n offered £450 towards the cost of studying in Stuttgart for six months from October 1967 . He will be working with Frau Erika Muller-Seeger, who will coach him in the art of presentin g Wagnerian roles .

Theatre

National Theatre At long last there is evidence of a general acceptance by local authorities of a plan for a National Theatre Scheme produced by Sir Ben Bowen Thomas, Lord Aberdare and Professo r Gwyn Jones. They recommended a three-part scheme, a national theatre building in Cardiff , a smaller theatre in Bangor, to be built by the University College of North Wales, which woul d be the main centre for plays in Welsh, and a mobile theatre capable of visiting about te n centres throughout Wales .

Mobile theatre Exciting designs for a mobile theatre have been produced by Mr Sean Kenny and were show n at a press conference convened by Miss Jennie Lee . These designs have been developed further and a small-scale prototype is now to be built and subjected to rigorous tests . The highly sophisticated concept offers acting facilities and public comfort which compare ver y favourably with those of permanent theatres .

Welsh Theatre The original suggestion and the preliminary brief for a mobile theatre emanated from th e Company Welsh Theatre Company which was created by the Welsh Arts Council in 1962 . The compan y was made autonomous on 1 st April, 1967, is now appointing a board of trustees whic h will be responsible for its future policy, and is seeking registration as a charitable trust . The Earl of Snowdon has very kindly agreed to be patron of the company .

During the past year the company has produced plays in English and Welsh . The play s shown included Saerpo/eau by Gwilym Parry and Pros Kairon by Huw Lloyd Edwards. Alu n Owen's television play The Rose Affairwas re-written for the stage and played in severa l places in Wales and Northern Ireland . The company also produced a programme based o n Shakespeare 's Richard //. This was a documentary play about Elizabethan England with a specially written script by David Lytton and was shown in schools, followed by a discussio n between the pupils, actors and producer, about the play and technical problems o f production .

Welsh Children's The companywas invited bythe Consultation Committee on Welsh Children's Theatre t o Theatre meet the needs of schools in Wales in the field of theatre . The invitation was accepted an d comprehensive plans are being laid to fulfil this function and relate it to the primary role of th e company.

Bursaries Mr Wilbert Lloyd Roberts was awarded a bursaryto enable him to travel in several Europea n countries to study the design and role of various national theatres .

Literatur e

Committee members The members of the Literature Committee are : Professor T. J . Morgan G. G. Evan s Alfred Franci s Dr Glyn Tegai Hughes Miss D . E. Ward Councillor Tudur Watkin s Clifford William s Raymond Garlic k E. D. Jone s Professor C . J. L. Price D. J. Thomas Geraint Bowen

A study Wales has a long literary tradition fostered at various times by private patronage or by th e enthusiasm sometimes of scholars and sometimes of writers . This tradition has grave weaknesses, the most unhappy being the division of literary activities in the Welsh an d English languages . Literary magazines have been founded and then floundered inevitably

once the initial impetus of the literary enthusiast was spent . There is a real need to examin e the whole field of creative writing in Wales and to encourage the publishing of bot h Welsh and English books . An Assistant Director is to be appointed with special responsibility for Literature. His immediate concern will be to examine the present situation and advise th e Committee on the needs of writers, editors and publishers for the improvement and expansio n of literary activities in Wales, in both languages.

Poetry anthology A poetry anthology, 'Voices of Wales', compiled by Bryn Griffiths, and published by Dent , received a Welsh Arts Council guarantee against loss . Four literature bursaries were given : two to writers in Welsh, Miss Eigra Lewis Roberts and Mrs Rhiannon Davies Jones, and tw o to writers in English, Mr Dedwydd Jones and Mr Bryn Griff iths . The Council has arranged to start purchasing Welsh manuscripts which will be housed in the National Library o f Wales .

North Wales Association During the summer of 1965 the Welsh Arts Council established the North Wales Art s of the Arts Advisory Panel and invited Sir Ben Bowen Thomas to be its Chairman and Mr J . 0. Jones its Secretary .

The terms of reference given to the Panel were to review the organization and the financin g of the arts in North Wales, to co-ordinate existing Arts Council activities, and to co-operat e with local authorities and other organizations in establishing the North Wales Associatio n for the Arts .

During the last eighteen months of the Panel's existence, it has been possible to make ne w contacts and to develop the work throughout the six North Wales counties . In fact, more tha n forty new centres were approached, and about two hundred new functions were held durin g this period . The enthusiasm shown on the ground was most encouraging . New ideas were pu t forward and new organizations are now coming into existence . Local Associations for the Arts were established at Wrexham, Conway, Bangor, Caernarvon and Pwllheli with a view t o co-ordinating the work on local level . Two new Arts Festivals were initiated, one at Wrexha m and the other at Bangor, bythe respective Associations .

The North Wales Association for the Arts took over the activities of the Panel from 1 st April , 1967. The inaugural meeting was held at Rhyl on the 21 st April, 1967, and was addressed b y Baroness Phillips, who deputized for Miss Jennie Lee, Minister of State . The Association ha s charitable status and its objects are to foster and promote an understanding and appreciatio n of the arts in the six counties of North Wales with particular regard to the distinctiv e characteristics of the area . Its main object is to co-ordinate, supplement and grant-ai d organizations recognized as charities promoting programmes independently or in associatio n with local authorities, cultural societies and education institutions relating to the practice , presentation and study of the arts in order, inter aiia, to promote better and more widespread performances, exhibitions and lectures in music, opera, ballet, drama, literature and the visua l and plastic arts .

The membership of the Association shall be drawn from local authorities, university colleges , colleges of education, adult education colleges, churches, voluntary organizations , industries and commerce, trade unions and any other such body or person that th e Association may from time to time determine .

The Association is financed by contributions from the North Wales county councils , industry, trade unions, private and voluntary sources and by grants from the Welsh Art s Council .

Housing the arts In the year 1966/67 several building and conversion projects received grants . These werethe Arts Centre, Prestatyn ; the Welsh National Opera Company for its conversion of an ol d warehouse for rehearsal, workshop and office accommodation ; the Town Hall, Llangefni , which is now used as an arts centre ; and the Little Theatre, Wrexham, which is used by th e Grove Park Amateur Dramatic Society .

Appointments and The following retired from the Council during the year : MrAlun Llywelyn-Williams, resignations Mr S. Kenneth Davies, and MrT. M. Morgan . Mr Alfred Francis, Professor T .J . Morgan, and Mr Clifford Williams were re-elected . The following were appointed to serve on the Council : Dr Glyn Tegai Hughes, Mr Gareth Thomas and Professor J . R. Webster.

The Director for Wales, Dr J . R . Webster, resigned on the 30th September, 1966, havin g been appointed Professor and Head of the Department of Education at the Universit y College of North Wales, Bangor . He was the Welsh Committee's chief officer for five most formative years, and his work forthe Arts in Wales will have lasting and beneficial results .

Mr A. M. Thomas was appointed to succeed Dr Webster on 1 st January, 1967 .

Miss Frances Edwardsjoined the staff as Art Assistant .

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Appendix A The charter of incorporation granted by Her Majesty the Quee n to the Arts Council of Great Britai n seventh day of February 196 7

Elizabeth the Secon d bythe Grace of God of the United Kingdom of Great Britain and Northern Irelan d and of Our other Realms and Territories Queen, Head of the Commonwealth , Defender of the Faith :

To all to whom these presents shall come, greeting !

Whereas His Majesty King George the Sixth in the year of our Lord One thousand nin e hundred and forty-six by Royal Charter (hereinafter called'the Original Charter ' ) dated the ninth day of August in the tenth year of His Reign constituted a Body Corporate by the nam e of 'The Arts Council of Great Britain' (hereinafter referred to as'the Counci l ') with perpetua l succession and with power to sue and be sued by the said name and to use a Common Seal :

and whereas the Original Charter was amended by the Secretary of State for Education an d Science Order 1964 and the Transfer of Functions (Cultural Institutions) Order 1965 :

and whereas it has been represented unto Us that it is expedient for the better execution o f the purposes thereof that the provisions of the Original Charter as so amended should b e further amended and that this may best be done by the grant of a new Charter replacing th e Original Charter :

now therefore know ye that We, by virtue of Our Prerogative Royal and of all other powers enabling Us so to do have of Our especial grace, certain knowledge and mere motio n granted and declared and do by these Presents for Us, Our Heirs and Successors, grant an d declare as follows :

1 The provisions of the Original Charter, except insofar as they incorporate the Arts Council o f Great Britain and confer upon it perpetual succession, are hereby revoked, but nothing in thi s revocation shall affect the legality or validity of any act, deed or thing lawfully done o r executed underthe provisions of the Original Charter .

2 The Council shall have a Common Seal, with power to break, alter and make anew the sai d Seal from time to time at their will and pleasure and by their name shall and may sue and be sued in all courts and in all manner of actions and suits, and shall have power to enter int o contracts, to acquire, hold and dispose of property of any kind, to accept trusts and generall y to do all matters and things incidental or appertaining to a Body Corporate .

3 The objects for which the Council are established and incorporated areas follows :

(a) to develop and improve the knowledge, understanding and practice of the arts ;

(b) to increase the accessibility of the arts to the public throughout Great Britain ; and

(c) to advise and co-operate with Departments of Our Government, local authorities an d other bodies on any matters concerned whether directly or indirectly with the foregoin g objects. 50

4 All moneys and property howsoever received by the Council, including any moneys voted b y Parliament, shall be applied solely towards the promotion of the objects of the Council and n o portion thereof (except as otherwise provided in this Our Charter) shall be paid or transferred directly or indirectly to the members of the Council .

5 (1) The Council shall consist of a Chairman, a Vice-Chairman and not more than eightee n other members .

(2) The Chairman and the other members shall be appointed by Our Secretary of State afte r consultation with Our Secretaries of State for Scotland and Wales and the terms of thei r appointment shall be determined by Our Secretary of State .

(3) The Vice-Chairman shall be appointed by the Council, with the approval of Our Secretar y of State, from among the members of the Council and the terms of his appointment as suc h shall be determined by the Council .

(4) Every member shall hold and vacate his office in accordance with the terms of hi s appointment bu t

(a) a member shall not be appointed for a term of more than five years ;

(b) a member otherthan the Chairman and the Vice-Chairman of the Council, of the Scottis h Arts Council and of the Welsh Arts Council and the Chairman of a panel shall not be eligibl e for re-appointment on ceasing to be a member until the expiration of one yea r ; and

(5) The Council shall not make to any member of the Council any payment by way o f remuneration for his services as such, but may reimburse to any such member expense s reasonably incurred by him in the performance of his duties .

6 (1) The Council may act notwithstanding a vacancy among the members and the validity o f any proceedings of the Council shall not be affected by any defect in the appointment of a member .

(2) The quorum of the Council shall be seven members personally present or such greate r number as the Council may from time to time determine .

7 Subject to the provisions of this Our Charter, the Council may regulate their own procedure .

8 (1) The Council shall, with the approval respectively of Our Secretary of State for Scotlan d and Our Secretary of State for Wales, appoint committees, to be called the Scottish Art s Council and the Welsh Arts Council, to exercise, or advise them on the exercise of, thei r functions in Scotland and Wales .

(2) Subject to such approval, the Council shall appoint as chairman of each committee a member of the committee who is a member of the Council .

(3) The Council may appoint to either committee persons who are not members of th e Council and, subject in the case of the chairman of each committee to such approval as aforesaid, may at any time revoke the appointment of any member of either committee . 51

9 (1) The Council may appoint other committees and panels to advise and assist them in th e exercise of such of their functions as maybe determined by the Council .

(2) The Council shall appoint as chairman of any such committee or panel a member of th e committee or panel who is a member of the Council .

(3) The Council may appoint to any such committee or panel members who are not member s of the Council and may at any time revoke the appointment of any member of such committe e or panel.

10 (1) The Council may regulate the procedure of any committee or panel appointed by them i n pursuance of Articles 8 and 9 of this Our Charter .

(2) Article 5(5) of this Our Charter shall apply to members of such committees and panels a s it applies to members of the Council .

11 Any officer of the Departments of Our Secretaries of State for Education and Science, fo r Scotland or for Wales who is appointed bythe relevant Secretary of State to be an assessor t o the Council, or to any committee or panel of the Council, shall be entitled to attend an y meeting of the Council or as the case may be of any committee or panel to which he is s o appointed.

12 (1) The Council shall, with the approval of Our Secretary of State, appoint a Secretary General who shall be the principal executive officer of the Council, and may appoint suc h other officers and take into their employment such other persons as the Council ma y determine .

(2) The Council ma y

(a) pay to their Secretary General and to their other officers and to other persons employe d by them such remuneration as the Council may, with the approval of Our Secretary of Stat e and the Lords Commissioners of Our Treasury, from time to time determine ; and

(b) as regards any officers or other persons employed in whose case it may be determined b y the Council, with the approval of Our Secretaryof State and the Lords Commissioners of Ou r Treasury, so to do, pay to or in respect of them such pensions (including gratuities), o r provide and maintain for them such pension schemes (whether contributory or not), as ma y be so determined .

13 The Council shall keep proper accounts and other records, and shall prepare for eac h financial year statements of account in such form as Our Secretary of State with the approva l of the Lords Commissioners of Our Treasury may direct and submit those statements o f account to Our Secretary of State at such time as he may direct .

14 The Council shall as soon as possible after the end of each financial year make to Ou r Secretary of State a report on the exercise and performance bythem of their functions durin g that year . 52

15 The application of the Seal of the Council shall be authenticated by the signatures of th e Chairman or of some other member of the Council authorized generally or especially by th e Council to act for that purpose, and of one of such officers of the Council as may be s o authorized by the Council so to act.

16 The Council may by resolution in that behalf passed at a meeting of the Council by a majorit y of not less than three-quarters of the members present and voting (being an absolut e majority of the whole number of the members of the Council) and confirmed at a furthe r meeting of the Council held not less than one month nor more than four months afterwards b y a like majority, add to or amend this Our Charter, and such addition or amendment, whe n allowed by Us, Our Heirs or Successors in Council, shall become effectual, so that this Ou r Charter shall thenceforward continue and operate as though it had been originally granted and made accordingly : and this provision shall apply to this Our Charter as added to o r amended in manner aforesaid .

17 In this Our Charter references to Our Secretary of State are to Our Secretary of State fo r Education and Science .

In Witness whereof We have caused these Our Letters to be made Patent .

Witness Ourself at Westminster the Seventh day of February in the Sixteenth year of Ou r Reign .

By warrant under the Queen's Sign Manua l

Signed Coldstream

Appendix B Arts Council exhibitions held in Great Britain durin g the period April 1966 to March 1967

Outstanding among the exhibitions arranged by the Art Department in 1966-67, was th e selection of Rodin bronzes which was first shown at the Hatton Gallery, University o f Newcastle upon Tyne, in November 1966, for which seven further six-week showing s were planned for the larger regional centres, including Edinburgh and Cardiff . The generou s loan of seventeen bronzes from the Tate Gallery for the period of a year attracted further loan s from both public and private collections in this country, and this enabled the Arts Council t o arrange a show providing a very useful conspectus of Rodi n's work . Such opportunities ar e unfortunately rare; but the response to the Rodin exhibition has shown that it is always rewarding to seek them out and exploit them .

The Arts Council was able to obtain some extremely fine loans for an exhibition, The Thames in Art (from the seventeenth to the twentieth century), which was shown at two festivals i n 1967: Henley-on-Thames and Cheltenham .

The work of young British artists was shown in several touring exhibitions, among them a selection from both the Young Contemporaries' London exhibition and from the Norther n Young Contemporaries first shown by the Whitworth Art Gallery, Manchester, as well a s recent purchases for the Arts Council's own collection of work by contemporary Britis h artists. The retrospective exhibition of Lowry's work shown in the Tate was an outstandin g success for British painting .

Among the exhibitions of foreign artists arranged by the Arts Council and shown in the Tat e during 1966, those of Rouault, Marcel Duchamp and Naum Gabo attracted most attentio n from the public. Perhaps the most spectacular of Arts Council exhibitions was the Picasso Sculpture shown in the Tate during the summer of 1967. There were about 200 sculpture s (the large majority lent by the artist himself) from all periods of his work, with ceramics an d drawings, in a setting designed by Michael Brawne .

Paintings, drawings, sculpture, et c

England The Arts Council Collection : British Painting Before 194 0 British Painting 1940-49 British Painting 1950-5 7 New Painting 1958-6 1 New Painting 1961-6 4 Recent purchase s Twentieth Century Drawing s Sculpture Henry Moore

Aubrey Beardsley 1872-9 8 David Bomberg 1890-195 7 A Chinese Painter's Choice: Ling Su-hua Collectio n Chromatic Sculpture Contemporary British Sculpture, 196 6 W Decade 1890-190 0 Frank Dobson 1886-196 3 S Jean Dubuffet : Drawing s Jean Dubuffet : Painting s Marcel Ducham p James Gillray 1756-181 5 Great Britain/USSR (in association with the Victoria and Albert Museum ) W In Motio n S Twenty Italian Sculptors Naum Gabo : Sculpture Japanese Design : Architecture and Object s Zoltan Kemeny 1907-6 5 W Lee Krasne r L. S . Lowry Marine Painting s Northern Young Contemporaries 196 6 W Painters in East Anglia Rodi n S Rouault 1871-195 8 The Seligman Collection of Oriental Art W Six Painters from Swede n David Smith 1906-6 5 Structure 196 6 Unit Series Progressio n Ventures Vision and Design : The life, work and influence of Roger Fry, 1866-1934 S Young Contemporaries 196 6

Graphic art, stage desig n

The Arts Council Collectio n W Designs for the Theatr e New Prints, 2 New Prints, 3 Original Print s

Thomas Bewick 1753-1820 S Japanese Prints Kokoschka Lithograph s WS Pop Prints Ruthless Logic and Free Imagination Show

Reproductions, photograph s

Abstract Art Georges Braqu e W Edgar Dega s W Ecole de Paris English Art S The Functional Traditio n Modern German Painting, 1900-1960 W Modern Gouaches and Watercolours W Hans Holbein the Younge r W The Human Figure in European Paintin g W Wassily Kandinsk y W Paul Klee W Landscape in Art, Part 1 : Up to Impressionis m W Landscape in Art, Part 2 : After Impressionis m W Joan Mir6 W Monet and his Contemporaries W Outline of Modern Art Pablo Picasso, Part 1 : Early Years Pablo Picasso, Part 2 : Later Year s W Pablo Picass o Portraits W Prehistoric Painting W Rembrandt and his Contemporarie s W Still Life Thirty Painters of the Fifteenth Century Vincent van Gog h

Seventy-six exhibitions were held in 216 separate buildings in 167 different centres (391 showings, including sixteen held in the Arts Council Gallery, Institute of Contemporary Arts, Tate Gallery and the Victoria an d Albert Museum) . Included in the above are thirty-two showings held in Wales in twelve separate buildings i n eight different centres and seven showings held in three separate buildings in two different centres in Scotland .

Note : W Also exhibited in Wales S Also exhibited in Scotlan d

Note : In addition to the above list the following exhibitions were shown at the Arts Council Gallery, Cambridge : John Craxto n Industrial Devices Norwich School Pictures Some American Paintings of the 60's

Scotland Georges Braque (Reproductions ) Sir D . Y . Cameron Centenary Exhibitio n Contemporary Scottish Painting from the Scottish Arts Council's Collectio n Graphics I Henry Linton Memorial Exhibitio n Old Master Drawing s Paintings by Alan Davie and William Gea r Picasso Prints Pictures for Scottish Schools (with the Educational Institute for Scotland ) 'Anne Redpath Memorial Exhibitio n Scottish Crafts Van Gogh (Reproductions ) Watercolours and Drawings from the Scottish Arts Council's Collection

Twenty exhibitions (including seven from England) were held in forty-six different buildings in forty-on e centres (fifty-two showings in all) .

'This exhibition was also shown in Bristol .

Wales Art in Wales (Reproductions ) Background I (Original works and photographs ) Background I (Reproductions and prints ) Margaret Davies Collectio n Drawings and Printsfrom the Welsh Collection One Interpretsthe World (Paintings from the Welsh Collection ) Ruthless Logic and Free Imagination Sho w Sculpture from the Welsh Collectio n Matthew Smit h Structure 196 6 Two artists: David Tinker and Robert H unte r Two artists: Thomas Rathmell and John Wrigh t

Thirty-five exhibitions (including twenty-three from England) were held in forty-six different buildings i n thirty-five centres (eighty-one showings in all) .

Appendix C The National Manuscript Collection of Contemporary Poets

The following accessions were made durin g the year 1966/67

John Betjema n Worksheet of a poem . (boughtfrom Mr Betjeman )

Walter de la Mar e A one-page manuscript draft of two poems . (bought at Sotheby's )

Charles Tomlinso n Drafts and worksheets of twenty poems . (boughtfrom MrTomlinson )

David Gascoyn e Twenty notebooks containing drafts of poems, prose writings and inter-related material, together with a n envelope containing a number of worksheets . (boughtfrom Bertram Rota Ltd .)

Christopher Logu e A notebook containing a draft for a poem Pop Song. (presented by Mr Logue )

Jon Silki n A typescript draft of a poem with autograph corrections . (presented by Mrs J . Stratford )

The Committee of the Arts Council that advises on these accessions consists of C . Day Lewis (Chairman) , Douglas Cleverdon, Philip Larkin, Edward Lucie-Smith, T . C . Skeat, Mrs Jenny Stratford, Eric W . Whit e (Literature Director) and Charles Osborne (Assistant Literature Director) .

The Arts Council of Great Britain Annual accounts year ended 31 March 196 7

page 60 Accountant's notes

Table A 62 Analysis of grants-in-aid 1962/63to 1966/6 7

B 63 A graph of gross expenditure 1962/63 to 1966/6 7

C 64 Awards to artists 1966/67

D 69 Housing the arts, future commitments undertaken in 1966/6 7

E 70 Accumulated deficiency grants 1966/6 7

F 77 Analysis of Drama grants and Guarantees 1966/6 7

G 74 Theatre companies : Details of costs, Revenue and Subsidy, 1963/64 to 1965/66

78 The Arts Council of Great Britain Account s

98 The Scottish Arts Council Account s

108 The Welsh Arts Council Accounts 60

Accountant's notes

These notes and tables are given in amplification of the Annual Accounts which follow .

The General Operating Costs, which are shown in detail in Schedule 2, include the costs o f the Opera and Ballet Enquiry totalling £756 up to 31st March, 1967 .

During 1966/67 the Council acquired a three-year lease of part of 29 Exhibition Road whic h is being sub-let to the National Federation of Music Societies, the Royal Philharmonic Society and the Society for the Promotion of New Music . General Operating Costs, i n Schedule 2 of the accounts, include expenses of £2,029 in respect of this property .

During 1966/67 an additional investment has been received from the Executors of th e Compton Estate . This is a holding of 400 shares in British-American Tobacco Company Limited and can be found in Schedule 6 .

Table A shows an analysis of the Arts Council grant-in-aid in the five years 1962/63 t o 1966/67 . The total grant-in-aid for 1967/68 is £7,200,000. The net expenditure in Table A i s shown, to the nearest £25,000, by deducting income from the most appropriate head o f expenditure; for example, the net expenditure on Art in 1966/67 is shown as £150,000 whic h is the result of deducting £64,896 income received from a gross expenditure of £208,309 .

The figures show an analysis of net expenditure in England together with the total grants to the Scottish and Welsh Arts Councils.

The subsidyto Covent Garden is forthe Opera Company and two Royal Ballet Companies .

The graph (Table B) shows approximate gross expenditure on the various arts in England , Scotland and Wales from 1962/63 to 1966/67 . The gross expenditure is noticeably more tha n the grant-in-aid shown in Table A because the grant-in-aid is supplemented by other income . For example, the Council's gross expenditure in 1966/67 was £95,509 more than th e grant-in-aid of £5,700,000 because of art exhibition admissions and catalogue sales, incom e from directly promoted opera, ballet and concert activities and other sundry receipts. The subsidyto Covent Garden in 1964/65 included £200,000 in respect of capital expenditure o n the building which results in the unusual peak shown in that year .

A list of the Council's awards to artists in England, Scotland and Wales can be found i n Table C. These are summarized in each Schedule 3 and show the maximum commitments , not necessarily the amounts paid.

The playwrights' royalty awards shown under Drama in Table C are linked to the New Drama guarantee scheme and are intended to ensure that playwrights (and/or translators) o f approved new plays receive a minimum royalty of £100.

The drama training schemes for designers and administrators include grants made to theatr e companies as a contribution to the salaries of trainees as well as outright awards to individual s to cover further training periods. 61

The purchase awards, totalling £4,600, are shown under Art . Fourteen paintings, fou r drawings, two sculptures, two assemblages, one etching and one construction have bee n received from the recipients of these awards .

7 In 1966/67 the Arts Council's grant-in-aid of £5,700,000 included £200,000 for Housing the Arts . The details of the expenditure of this sum can be found at the end of bot h Schedules 1 where £182,450 is accounted for in England and £17,550 in Scotland .

In addition, the Arts Council was authorized to enter into commitments to make furthe r provision for Housing the Arts up to a total of £400,000 over and above the cash grants of £200,000. The commitments for this further amount are set out in Table D.

8 The Council made a grant of £1,000 to the Italian Art and Archives Rescue Fund which i s included under Art in Schedule 3 of the 1966/67 accounts . This payment was made i n good faith out of the Reserve for Special Art Projects, the view being taken that the physica l restoration and preservation of works of art in Florence, which are constantly visite d by great numbers of the British public, was reasonably incidental and conducive to th e attainment of the Arts Council's object'to develop and improve the knowledge, understanding and practice of the arts' .

The Council has benefited from loans from Italy for our exhibitions in the past and has, sinc e 1964, a project to show in the new South Bank Gallery an exhibition of restored Florentin e frescoes . The grant appeared relevant to another of the Council's objects which is'to increase the accessibility of the arts to the public throughout Great Britain' .

However, we have since received information from the Department of Education and Scienc e that, in their opinion, this payment was ultra vires .

62 Grant-in-aid 1962/63 to 1966/6 7

Housing the arts "'. Literature and other arts expenditure An Dram a Table A Other Music Other opera and ballet Covent Garden General operating cost s Wales Scotlan d

r6 .000 .000

E5,000 .000

£4.000,000

£ 3 .000.000

E2 .000,00 0

£ 1,000 .000

E750,000

E500,000

f 250,000

Gross expenditure 1962163 to 196616 7

Table B MEB%d balle t other mo other arts expenditure

C1 .600,00 0

01 .550,000

0,500,000

E1,450,000

C1,400,000

C1,350,000

E1,300,000

E1 .250 .000

E 1, 200,000

(1,150,000

E 1,100,000

Et .050 .000

C 1, 000 .000

£950,000

£900,000

£850,000

0800,000

£750,000

[700,000

E650,000

f 600,000

E550,000

0500,000

E450,000

C400,000

£350,000

E300,000

E250,000

E200,000

El 50,000

E 100 .00 0

£ 50,000

1962/63 1963/64 1964/65 1965 66 1966/67

64 Awards to artists 1966/67

Table C

Englan d

Music Advanced trainin g Simon Allfree Trainee administrator-Hall6 Orchestra 150 David Atherton Repetiteur-London Opera Centre 192 Christopher Ball Apprentice Conductor scheme-Vancouver Symphony Orchestra 750 Michael Laird Clarino study 100 Christopher Robins Trainee administrator-Royal Liverpool Philharmonic Orchestra 150 David Seaman Repetiteur-London Opera Centre 590 Desmond Smith Opera producer 600 John Stoddart Opera and ballet designer 450 Harry Waistnage Opera and ballet designer 500

Commissions (including presentation costs ) Cornelius Cardew 600 Elizabeth Lutyens 750 Wilfrid Mellers Yorkshire and District Brass Band Association 50 George Newson 20 Priaulx Rainier 1,000 Christopher Brown Tilford Bach Festival 150 David Cox Tilford Bach Festival 150 Brian Kelly Tilford Bach Festival 150

Elizabeth Lutyens 1966 Summer School of Music 31 6 Thea Musgrave

Composers' bursaries, expenses and costs of presenting new work s Denis Aplvor 200 Harrison Birtwistle 105 Wilfred Josephs 100 Malcolm Rayment 30

Other awards Ffrangcon Davies 41 Youth and Music 100

Drama Christopher Denys 200 John Floyd 250 David Forder 250 Colin George 350 John Gunter 250 Giles Havergal 250 Donald Mackechnie 250 Rupert Rhymes 200 Osborne Robinson 250 Michael White 200 John Wyckham 300

Playwrights David Cregan 1,000 Patricia O'Shea 350 David Pinner 500 Colin Spencer 250

Playwrights' royaltie s David Baxter Will Somebody Please Say Something Quipu 100 Kitty Black (T) The Public Prosecutor (Hochwaelder) Harrogate Opera House 63 John Bowen After the Rain Perdita Productions 49 Pat Connell Smithson's Ark Repertory Players 11

Playwrights' royalties (continued ) _ Giles Cooper HappyFami/y Hampstead Theatre Club 24 William Corlett The Scourging of Matthew Barrow Leicester Phoenix Theatre 51 Jan de Hartog Death of a Rat Derby Playhouse 81 Maureen Duffy The Silk Room Watford Civic Theatre 50 Bill Dufton From China to Peru _ Prospect Productions 1 4 Ron-aid Eyre A Crack in the Ice -Birmingham Repertory Theatre _ 100 Athol Fugard The Blood Knot _ African Drama Trust 68 Bernard Frechtman (T) The Balcony (Genet) Meadow Players (Oxford) 100 Michael Hastings Lee Harvey Oswald _ Hampstead Theatre Club 7 Stuart Gilman The Insiders International Theatre Club _ 91 Carey Harrison Dante Kaputt Leicester Phoenix Theatre 1 9 Ann Jellicoe The Sport of my Mad Mother Liverpool Everyman Theatre 52 Sandro Key-Aberg Ohl London Traverse Theatre 100 Robert Lowell Benito Cereno Mermaid Theatre 100 John McGrath - Events while guarding the Bofors Gu_n_ Hampstead Theatre_ Club 41 Mary Melwood Five Minutes to Morning Unicorn Theatre 60 Yvonne Mitchell (T) Beware of the Dog (Arout) Nottingham Playhouse 100 Adria_ii Nicolaeff (T) The Promise (Arbuzov) Meadow Players (Oxford) 100 Tony Perrin Get Out in the Green Fields Studio Theatre (Stoke-on-Trent) 75 Robert Rietty (T) Rules of the Game (Pirandello) Meadow Players (Oxford) 100 Robin Rook (T) Never Say Die (Salacrou) International Theatre Club 87 Maurice Rowdon Eskimo Trance International Theatre Club 100 N F . Simpson The Cresta Run Farnham Repertory Theatre_ 55 Anthony Shaffer The Savage Parade Crewe Theatre 88 WoleSoyinka The Trials of Brother Jero African Drama Trust 69 Anni Lee Taylor (T) The Wily Widow (Goldoni) Liverpool Everyman Theatre 51 Cecil P. Taylor Bread and Butter London Traverse Theatre 9 Peter Terson - l'm in Charge of These Ruins _ Studio Theatre (Stoke-on-Trent) 74 Peter Terson Jock-on-the-Go Studio Theatre (Stoke-on-Trent) 1 2 Peter Terson Jock-on-the-Go Liverpool Playhouse 100 Petor Terson All Honour Mr Todd Sti di g Theatre (Stoke-on-Trent) 67 Simon Voice Reflections in an Axe Malvern Festival Theatre 26 E. F. W tling (T) A Pot of Go/d (Plautus) an d Electra (Sophocles) Studio Theatre (Stoke-on-Trent) 25 D . Watson (T) Jenusia (Obaldia) International theatre Club 87 -- - T=Translato r

Designcommission s Canterbury Marlowe Theatre (Kenneth Rowell) _ 150 Coventry Belgrade Theatre (J. Hutchinson Scott ) 150 Nottingham Playhouse (Carl Toms) 150

Training schemes

Trainee administrators chesterfield Civic Theatre (Barry Shepherd ) 198 Colchester Repertory Theatre (John Adler ) _ 286 Lincoln Theatre Royal (J. W . Clarke ) 88 Liverpool Repertory Theatre (Stanley Morris ) _ 286 Salisbury Arts Theatre (Alan Corkill ) 286- Salisbury Arts Theatre (Robert Scott ) 44

John Adler 41 0 Alan Corkill 41 0 Vivien Etridge 465 Michael Freeman 420 Peter Harlock 41 0 Sydney LHibbert. 230 Bill Johnston 250

Trainee administrators (continued ) Stanley Morris 41 0 Barry Sheppard 350

Trainee designers Maureen Ardren Salisbury Arts Theatre 56 Angela Ballard Manchester Library Theatre 44 Johanna Bryant Coventry Belgrade Theatre 363 David Burrows Ipswich Arts Theatre 247 Roger Butlin Sadler's Wells Theatre 143 Deirdre Clancy Lincoln Theatre Royal 187 Bernard Culshaw London Traverse Theatre 322 Agboola Folarin Nottingham Playhouse 31 9 Sheila Godbolt Bournemouth Palace Court 252 Hans Chr . van Langeveld Colchester Repertory Theatre 363 Neil Littlewood Northampton Repertory Theatre 352 Richard Mead Bristol Old Vic Theatre 21 4 Gordon Melhuish Royal Shakespeare Theatre 341 Trevor Pitt Birmingham Repertory Theatre 363 Maurice Rubens Nottingham Playhouse 247 Sally Thompson Liverpool Playhouse 297 Elizabeth Waller Leicester Phoenix Theatre 330 Peter Whiteman Bristol Old Vic Theatre 336 David Burrows 60 Richard Mead 60 Maurice Rubens 60

Trainee directors Richard Eyre 800 Anthony Ferrand 850 David Herman 800 Anthony Hozier 800 Trevor Vibert 800

Art Sabbatical award s Robert Clatworthy 700 Garth Evans 700 Andrew Forge 700 Nicholas Horsfield 700 Denis Mitchell 700 Yolanda Sonnabend 500 William Townsend 700

Commissions Leicestershire Education Committee 500 Hubert Dalwood 400 Neville Boden 400 Austin Wright 400

Purchase award s Elinor Bellingham Smith 500 Mark Boyle 250 Prunella Clough 500 Hubert Dalwood 500 Sheila Fell 500 Terry Frost 500 Derrick Greaves 250 Anthony Gross 500 Howard Hodgkin 250

Purchase awards (continued ) - RobertLaw 300 James Tower _ 250 Ken Turner 300 -Literature - Bursaries------Paul Ableman 800 Jack Beeching 750 _ Basil Bunting _ 1,000 Phillip Callow _ 800 Kay Dick 800 Maureen Duffy -- 800 HarryFainlight 750 William Gerhard i 800 _ Frederick Grubb - 750 _Leslie Halward 800 Aidan Higgins -- 800 _ Veronica Hul l 800 Francis King -- - 1,200 John McGaher n ------800 Vernon Scannel l - - - - 1,200 Elizabeth Smart - 800 Fred. Urquhart 800 Anthony West 800 _David Wevill --- - 750 Antonia White 1,200 Hugo Williams - 750 Maintenance grants Louis Battye 300 Hope L. Bourne - 200 Alan Burns 250 Vincent Cronin 500 Zulfikar Ghose 300 Wilson Harris 125 - - - - Michael Holroyd 500 _Brian S. Johnson 800 Cressida Lindsay - - 500 -- --- A. L. Lloyd ------500 -- - _Kate O'Brien 750 _ Samuel Selvon 500 _ Kathleen J. Smith 100 Peter Stadlen 300 - --- _R. W. Thompson 250 Ruth Tomalin 200 Prizes - - John Bowle 1,000 _Rayner Heppenstall - 1,000 Edgell Rickword 1,000 James Stern 1,000 Otherawards - - - Kay Dick ------250 _ Maureen Duffy 100 Michael Glenny 250 _ John Horder 250 Veronica Hull _ 100 Philip O'Connor 250 68

Scotlan d

Music Special grant s John Purser Thomas Wilso n William Wordsworth

Bursarie s Richard Galloway J. Maxwell Geddes Marjory McMichae l Eva Ross

Drama New designers Donald Chaffi n Glasgow Citizens' Theatre Martin Morle y Edinburgh Civic Theatre Andrew Sander s Maurice Strike Glasgow Citizens' Theatre

Commissio n Robert McLella n Edinburgh Civic Theatre

Travel Grant Andr6 Tamme s

Art Commissions Archie Brenna n Tom Macdonal d Hamish Reid Saxe Sha w Robert Stewart

Bursaries Donald Bai n John Connoll y Hamish Lawrie Tom Macdonald Geoffrey J . Roper Sylvia Wishart

Literature Bursaries Ian Hamilton Finlay Norman MacCai g lain Crichton Smith

Wales

Musi c Bursary Jeffrey Lewi s 700

Dram a Bursary Wilbert Lloyd Roberts 250

Art Laurence Burt United Nations Competition Commissio n 20 Peter Nichola s United Nations Competition Commissio n 20 John Phillips United Nations Competition Commission 20

Literature Bryn Griffith s 200 Dedwydd Jones 300 Rhiannon Davies Jones 200 Eigra Lewis Roberts 300

69 Housing the arts

Table D

Future commitments undertaken in 1966/6 7

England Bromley Theatre Trust Limited _ 64,00 0 Leatherhead Repertory Company Limited 50,00 0 Harlow Urban District Council 47,50 0 Taunton Borough Council 30,000 _ Chester City Council 15,00 0 Dorset Natural Historyand Archaelogical Society 13,25 0 County_ Borough of Ipswich 10,000 _ Living Arts Limited (A .S.A.D .) 10,00 0 Chichester Festival Theatre Trust Limite d 10,00 0 York Citizens' Theatre Trust Limite d 7,80 0 Morley College 7,50 0 Greenwich Theatre Limited 3,500 _ Bridgnorth : Theatre on the Step s 3,15 0 City and County of Bristol 2,500 Sunderland Corporation 2,000 Avoncroft Arts Society 1,750 Bradford City Council 1,600 Potheinos Limited 1,550 Tavistock Repertory Guarantors Limited 1,000 Royal Cornwall Polytechnic Arts Committee _ 950 _ Malvern Urban District Council 250 283,300

Scotland Burgh of Motherwell and Wishaw 70,000 _ Dumbarton Burgh Council 20,00 0 Glenrothes Development Corporation 10,000 Orkney Federation of Voluntary Associations 1,700 101,700

Wales Welsh National Opera Company Limited 15,000 £400,000

Accumulated deficiency grants 1966/6 7

Table E

e Englan d Bristo10 Id Vic Trust Limited 2,500 B ro m I ey Th eatre Tru st Limited 2,000 Cambridge: Prospect Productions Limited 1,000 Cheltenham Everyman Theatre Company Limited 4,00 0 Guildford : Yvonne Arnaud Theatre Management Limited 3,00 0 Ipswich Arts Theatre Trust 750 Lincoln Theatre Association Limited 4,000

London : National Theatre Board 80,OOOt Royal Opera House, Covent Garden Limited 130,OOOt Sadler's Wells Trust Limited 55,OOOt

Oxford : Meadow Players Limited 5,00 0

Scotlan d Edinburgh Civic Theatre Trust Limited _ 2,200 _ Scottish Opera Limited 3,000

tin respect of the reduction of bank overdrafts .

71 Analysis of dram a

Table F Grants and guarantee s for the year ended 31st March, 1967

Revenue_ __Touring -- Capital New Transport Training Tota l _grants or .grants of __expenditure _ drama and _ _subsidies scheme s _guarantees guarantees __ neg/ected _ - - - plays -- - `£ £ £ £ £ - --£ _England ------'

Barrow-in-F_urness_:_ Renaissance Theatre Trust _ _Company Limited 7,000 2,000 100 9,100 Birmingham Repertory Theatre Limited 38,000 1,250 _ 875 _ 100 363 40,588 ' Bournemouth Theatre Trust Limited 8,000 _ 1,000 100 252 9,352 ' Bristol Old Vic Trust_Limited-_ - 42,500t _ 1,136 _ 400 450 490 44,976 ' _Bromley Theatre Trust Limited 17,000t - 250 17,250 ' Bury-St Edmund's Theatre Management Limited 2,000 _ 2,00 0 Cambridge : Arts Theatre of Cambridge Limited 1,000 600 1,600 ' Canterbury Theatre Trust Limited __1_0,000 _ .550 _ 575 150 11,275 ' Century Theatre Limited 23,000 2,000__ _ 200 _ 25,200 ' Cheltenham Everyman Theatre Compan y Limited _22,0001 1,500 600 24,100 ' Chesterfield Civic Theatre Limited_ _6,000_ 200 198 6,398 ' Chichester Festival Theatr e Productions Company Limited 10,000 10,000 Colchester Repertory Company Limited 16,000 - 350 649 16,999 ' Coventry_: Belgrade Theatre Tru_s_t_(Coventry_ ) Limited 40,000 300 600 _ 513 41,41 3 Crewe Theatre Trust Limited _ 5,000 _ 338 5,33 8 Derby Playhouse Limited 15,000 476 300 15,776 ' Farnham Repertory _ Company Limited 6_,_000 581 125 6,706 ' Guildford : Yvonne Arnaud Theatre Management Limited _23,000t _ 350 . 23,350 ' Harrogate (White Rose) Theatre_T_rust Limited _10,000_ 288 150 11,935 ' Hornchurch Theatre Trust Limited 15,000 100 15,100 ' Ipswich Arts Theatre Trust 18,750t_ _ 221 100 187 19,258 ' Kingston-upon-Hull New Theatre_ Company Limited 2,750 2,750 Leatherhead Repertory_ComI an_y_Limited 16,000 100 16,100 ' Leicester Theatre Trust Limited _ 20,000 971 200 330 21,50 1 Lincoln Theatre Association Limited 14,000t 15,000 350 250 275 29,875 ' Liverpool Everyman Theatre Company_Limited 5,000- 577 350 5,927 ' Liverpool Repertory Theatre -Limited 30,000 1,175 100 _ 583 31,858 '

London : African Music and Drama Trust 650687 1,33 7 Caryl Jenner Productions Limited 5_,000___ 33.5 5,33 5 Children's Theatre Westminster Limited 350 350 English Stage Company Limited_ 85,000 3,000 650 88,650 ' Hampstead Theatre Club 1,348 1,34 8 I.T. Productions Limited1, 0. 00 1,365 2,365 ' London Academy of Music and Dramatic Art 1,000 1,00 0 London Traverse Theatre Company_ 1,50.0 _ 1,384 _ 322 3,206 ' Margate Stage Company Limited _ 55.0 -- 550 Mermaid Theatre Trust Limited _ 20,000 500 _ 20,500 ' National Theatre Board - 288,000t 18,000 306,000 ' 0 Negro Theatre Workshop 300 -- _ 30 Newstage Limited __ 6,000 6,00 0

Carried forward £806,800 £59,357 £12,797 £13,150 £6,250 £4,312 £902,666

'Maximum commitments are shown, not necessarily the amounts paid. tlncluding special grants shown in Table E .

Revenue Touring Capital New Transport Training Tota l giants or grants or expenditure drama an d subsidies schemes Englan d guarantees guarantees neglecte d (continued) plays £ £ Brought forward 806,800 59,357 12,797 13,150 6,25 0 4,312 902,66 6 Perdita Productions Limited 374 374 Piccolo Theatre Compan y 500 500 Quipu Limite d 400 425 825' Repertory Players 1,000 55 1,055 - Theatre Centre Limited 3,500 3,50 0 Wimbledon Theatre Limited 3,000 3,000 -

Malvern Festival Theatre Trust Limite d 3,500 326 150 3,976 - Manchester Public Libraries - Libraries Committee 44 44 Northampton Repertory Players Limite d 15,000 750 352 16,102 ' Nottingham Theatre Trust Limited 42,000 200 625 1,000 656 44,481 - Nottingham Theatre Trust Limite d (Newcastle-upon-Tyne) 6,500 150 6,650 - Oldham Repertory Theatre Clu b 7,000 7,000 - Oxford : Meadow Players Limite d 26,OOOt 20,000 1,12 5 350 47,475 - Oxford University Theatre 26 26 Plymouth Arts Guild 5,000 5,000 ' Prospect Productions Limited 16,OOOt 10,000 466 539 27,005 - Richmond Theatre Productions Limite d (Surrey ) 7,000 200 7,200 - Rosehill Arts Trust Limite d 1,500 1,500 Sadler's Wells Trust Limited 143 143 Salisbury Arts Theatre Limited 15,000 850 386 16,236 - Scunthorpe Civic Theatre 50 50 * Sheffield Repertory Company Limite d 38,00 0 400 38,400 - Stoke-on-Trent : Studio Theatre Limite d 15,000 700 1,53 4 750 17,984 - Stratford-upon-Avon : Royal Shakespeare Theatre 153,00 0 341 153,34 1 Watford Civic Theatre Trust Limite d 8,000 628 350 100 9,078 - Worcester Arts Association (S.A.M .A.) Limited 2,000 2,00 0 York Citizens' Theatre Trust Limited 20,000 800 20,800 ' Association of British Theatre Technician s 250 250 British Centre of th e International Theatre Institute 250 250 British Institute of Recorded Soun d 700 240 940' Council of Repertory Theatres 350 350 'Gambit' 250 250 Training Scheme Bursaries and Expense s 10,760 10,760 ' New Drama Bursaries and Expenses 3,01 2 3,01 2

0,196,750 £90,057 £14,831 £21,765 £11,82 6 £16,994 £1,352,22 3

'Maximum commitments are shown, not necessarily the amounts paid . tlncluding special grants shown in Table E .

Revenue Touring Capital New __ _Transport Training Tota l grants or giants or expenditure drama and subsidies schemes guarantees guarantees neglected Scotland ------plays _ £ £ £_ Arbroath Abbey Theatre Club 50 50' Bo'ness : The Barony Players 250 250 Bertha Wi-cldell's Children 's Theatre 500 135 635` Dundee Repertory Theatre Limited 21,500 650 365 250 286 23,051 ' Edinburgh Traverse Theatre Club 7,000 _ 7,000 ' Edinburgh Civic Theatre Trust Limited 39,2001 875 591 400 495 41,561 ' Glasgow : Citizens' Theatre Limited 41,000 _ 360 650 500 468 42,978 ' Perth Repertory Theatre Limited 12,500 1,0.00 200 _ 13,700 '_ PitlochryFestival Society Limited 14,000 300 14,300 St Andrews Play Club: Byre Theatre 872 872 British Centre of th e International Theatre Institute 50 50 Council of Repertory Theatres 50 50 Training Scheme Bursary _ 125 125

£136,972 £3,020 71,906 71,350 £1,374 £144,622

'Maximum commitments are shown, not necessarily the amounts paid . tlncluding special grants shown in Table E .

Theatre companies : Details of costs, revenue and subsidies 1963/6 6

Ke y Total Total As per- Subsidies and Donation s a=1965/6 6 theatre net centage 'Arts #Local Approxi- Indepen- Industry Trusts b=1964/6 5 operating trading of Council authori- mate dent and an d c=1963/64 cost revenue cost ties equiva- Tele- Com- other lent to vision merce sup - a local porters rate of Englan d £ £ £ £ £ d £ £ £

Barrow-in-Furness: a 22,491 12,296 54 9,750 1,675 •21 - 1,000 428 Renaissance b 22,101 13,647 62 4,200 2,125 26 - 1,000 852 Theatre Trust c 19,175 12,820 67 3,450 1,050 •13 - 1,000 780 Company Limited Birmingham a 61,036 32,330 53 22,650 7,000 •03 - - - Repertory Theatre b 58,941 34,103 57 17,550 7,135 •03 - - - Limited c 59,084 36,100 61 15,150 5,000 •02 - - - Bristol Old Vic a 114,474 66,072 58 23,758 26,200 •31 - - - Trust Limited b 90,284 51,314 57 19,564 23,675 •29 - - 1,50 0 c 62,369 46,310 74 15,549 2,500 •03 - - 1,20 0 Bromley Theatre a 70,128 53,166 75 6,510 7,500 •12 - - - Trust Limited b 84,914t 69,336 82 3,845 10,000 •58 - - 442 c 55,015t 50,704 92 3,920 6,000 •36 - - - Canterbury Theatre a 26,923 20,053 74 6,220 6,600 1 .12 - - - Trust Limited b 22,795 15,222 67 5,200 6,600 1 .16 600 - 50 c 26,624 19,620 74 4,450 6,602 1 .20 600 - - Century Theatre a 32,663 12,180 37 15,200 7,115 - - - 275 Limited b 17,120 11,077 65 4,000 600 - - - 151 c 20,360 12,432 61 6,025 750 - - - 499 Cheltenham a 51,760 41,077 79 12,000 3,354 •24 - - 1,009 Everyman Theatre b 45,617 35,218 77 7,125 3,510 26 - - 676 Company Limited c 45,402 36,850 80 5,474 3,400 •26 - - 599 Chesterfield Civic a 16,866 10,395 62 3,700 2,775 •22 - - 153 Theatre Limited b 15,844 11,534 69 3,650 2,775 •23 - - - c 20,977 13,644 65 3,600 2,775 •24 - - - Chichester Festival a 142,716 142,583 100 ------Theatre Productions b 48,687§ 40,067 82 ------Limited c 42,625§ 43,581 102 8,000 - - - - - Colchester Repertory a 36,826 19,117 52 8,000 4,207 •38 - - 971 Company Limited b 29,069 16,056 55 5,900 3,984 •38 - - 2,15 9 c 25,014 13,869 55 6,250 3,158 •31 - - 1,06 8 Coventry : Belgrade a 200,609t 142,614 71 30,760 15,246 •28 - - - Theatre Trust b 120,293 93,636 78 18,434 13,150 25 - - - (Coventry) Limited c 111,627 89,395 80 15,022 6,750 •13 - - - Crewe Theatre a 14,648 7,892 54 3,500 4,300 •53 - - - Trust Limited b 6,507t 3,527 54 980 2,000 •21 - - 21 6 c Derby Playhouse a 35,746 24,070 67 6,800 2,551 •09 - - - Limited b 31,382 24,198 77 4,850 2,471 •09 - - - c 29,705 25,698 86 4,600 1,386 •05 - - - Farnham Repertory a 22,832 17,132 75 4,438 460 •07 200 - 182 Company Limited b 17,963 14,878 83 4,449 130 •02 - - 191 c 13,956 12,029 86 2,541 120 •02 1,000 - 208 Guildford : Yvonne a 160,424 129,226 80 10,250 1,865 •12 - - - Arnaud Theatre b 5,683t - - 5,000 1,000 •06 - - - Management Limited c Harrogate: (White a 35,990 20,340 56 4,837 - - - - 2,86 3 Rose) Theatre Trust b 33,945 25,701 76 2,550 - - - - 3,86 3 Limited c 35,477 29,458 83 2,780 - - - - 2,50 6 Hornchurch a 39,569 22,022 56 7,000 9,254 •19 - - - Theatre Trust b 32,614 20,085 60 5,500 11,215 •45 - - - Limited C 31,456 18,841 60 5,000 5,512 •22 - - -

Key Total Total As per- Subsidies and Donations _ a=1965/66 theatre net centage 'Arts #Local _ Approxii- lndepen_-Industry _Trusts_ b=1964/65 operating trading of Council_ authori- mate dent and _and c=19. 6_3_/64 cost revenue cost ties equiva- Tele- Com- -othe r - - lent to vision merce sup ------a local porters England rate of (continued) £ _£ £ £ £ d £ £ £

Ipswich Arts 33,695 20,759 62 8,040 3,500 •12 - - - - Theatre Trust b 35,512 25,196 71 6,300 - - 100 - 244 c 33,507 27,959 _ 83 6,042 100 _ - 21 7 Leatherhead a 36,461 26,063 71 8,521_ 675_ •08_ _ 500 -- 3 Repertory Company_ b 31,566 25,249 80 5,940 . 675 •08 - _ 500 52 Limited _ c 27,256 22,547 83 5,893 550 •06 _ 500 - Leicester Theatre a _ 53,119 35,618 67 9,675 2,645 •04 - - 472 Trust Limited b 42,718 29,737 70 6,573 2,365 •04 - - 999 - c ---20,8781 16,471 79 _ 4,182 - - - - 5,43 1 Lincoln Theatre a 50,015 29,289 58 18,811 2,769 _27 375 391 Association Limited b 47,756 29,423 _ 62 11,389 _ 2,677 26 375- _- _ 1,46 6 c 42,340 30,561 72 8,591 2,917 •29 - - _1,36 9 Liverpool Repertory a 57,158 46,172 81 14,275 - - 992 Theatre Limited b 65,444 54,314 83 7,300 - _ c 59,523 55,007 92 5,00 0 London : English Stage a 258,337 201,782 78 50,555 2,710 _ - 1,23 5 Company Limited b 94,250 68,406 73 32,780 2,710 - - - 1,802 _ c 97,083 70,287 72 35,000 2,710 - 3,680 Mermaid Theatre a 148,672 110,585 74 21,000 Trust Limited b 144,992 106,973 74 10,461 - - - - 2,500 c 129,764 103,168 79 7,384 ------National Theatre a 673,018 330,696 49 188,000 51,431 - - - - Board b 580,274 283,871 49 142,000 40_,0_00_ c 268,4901 114,924 43 130,000 - New Shakespeare _ a 20,474 12,798 62 _ 500 4,255 410 __ 1,163 - Company Limi_ted__ b 28,424 22,043 77 2,000 3,605 _210_ 950 - C 22,012 _ 16,352 _ 74 1,000 3,000 - 1,000 - Northampton __a 46,062 39,637 88 9,050 _ ___- __ - - - Repertory_Mayers b 45,200 40,085 _ 89 7,300 438 - - Limited _ c 40,628 34,470 _ 85 7,300 _ 829 -04 750 = - Nottingham Theatre a 137,512 83,16_2__- 60 26,879 29,800 •50 Trust Limited b _ 121,415 81,492 67 19,946 22,900 •3 9 c 61,243 36,556 _ 60 18,793 14,000 _ •24 Oldham Repertory_ - _a 33,718 33,806 100 7,000 = _ Theatre Club b 28,282 26,154 92 61000 c 29,063 30,298 104 4,500 - - - - - Oxford : Meadow a _ 58,402 29,785 51 24,900 4,000 •14 - - - •1 1 Players Limited_ _ - b_ 43,734 26,675 61 13,850 3,000 c 22,196 9,334 42 12,329 3,000 12 - - 500 Prospect a 43,568 24,867 58 _17,154_ - - 3,00 0 Productions b 18,3701 12,875 70 3,80_0_ Limited c 2,72 5 Richmond Theatre a 57,596 53,154 92 2,200 2,600 •04 - - 500 Productions Limited b 49,62948,2 6.597 2,200 - 650 - (Surrey_) -- - c 49,358 49,212 _ 99 1,200 _ _ -750 - Salisbury Arts a _ 30,891 23,218 75 8,690 706 •10 _- - - Theatre Limited b 30,466 23,602 77 _ 7,202 _731 •11 600 - 444 _ c 31,795 24,252 76 7,300 696_ •11 600 - _ 385 Sheffield Repertory _a 53,082 30,596 55 19,120 - - - - 2,00 0 Com_pany Limited b 49,016 37,690 77 11,520 5,000 •06 500 c 39,611 34,561 87 1 1,200

Key Total Total As per- Subsidies and Donation s a=1965/6 6 theatre net centage 'Arts *Local Approxi- Indepen- Industry Trusts b=1964/65 operating trading of Council authori- mate dent and and c=1963/64 cost revenue cost ties equiva- Tele- Com- other lent to vision merce sup - a local porters Englan d rate of (continued ) £ £ £ £ £ d £ £ £

Stoke-on-Trent : a 31,355 14,763 47 9,229 5,410 •14 - - 1 8 Studio Theatre b 22,092 12,307 56 6,375 3,630 •10 - - 29 Limited c 18,343 9,837 54 9,505 3,641 •10 - - 153 Stratford-upon-Avon : a 733,268 615,161 84 93,273 - - - - 5,000 Royal Shakespeare b 692,129 541,486 78 88,136 - - - - 5,000 Theatre (including c 616,188 513,992 83 47,232 - - - - 10,000 Aldwych Theatre) Watford Civic a 54,931 29,860 54 3,460 19,000 •81 - - - Theatre Trust b 30,101 t 10,419 35 - 15,410 •67 - - - Limited c _ York Citizens' a -II - - 7,208 Theatre Trust b 50,138 42,282 84 4,724 - - - - - Limited c 45,832 39,223 85 3,050 - - - - 26

Scotlan d

Dundee Repertory a 36,408 16,529 45 14,600 4,000 •23 - - 1,485 Theatre Limited b 33,852 12,697 31 13,203 4,000 •24 - - _ - c 29,012 12,023 41 13,900 4,000 •24 - - - Edinburgh Civic a 126,307 54,033 43 16,200 41,439 •80 - - 1,05 0 Theatre Trust Limited b c Edinburgh Gateway a Company Limited b 26,511 17,129 65 6,671 2,000 •04 - - - c 22,179 17,431 79 5,450 2,000 •04 - - - Glasgow Citizens' a 109,771 49,233 45 21,450 6,700 •08 - - 16,262 Theatre Limited b 68,537 37,473 55 18,888 6,200 •07 - - 1,108 c 60,900 38,767 64 15,314 6,200 •07 - - 79 Perth Repertory a 40,823 22,844 56 13,200 2,000 •55 - - 3,165 Theatre Limited b 42,262 25,857 61 12,114 1,350 •37 - - 3,69 9 c 43,277 26,157 60 10,850 1,350 •38 - - 3,66 6 Pitlochry Festival a 61,542 49,825 81 9,800 631 - - - 1,80 3 Society Limited b 50,032 42,319 85 6,725 531 - - - 2,48 1 c 42,890 39,607 92 4,200 491 - - - 3,29 0 St Andrews Play a 5,976 5,002 84 660 - - - - 314 Club - Byre Theatre b 5,539 4,352 80 460 - - - - 51 7 c 4,854 4,311 89 380 - - - - 243

Notes : 'The amounts shown in the Arts Council column are for the financial years ending 31 st March, and represen t the total grants offered by the Arts Council, together with guarantees against loss still outstanding at that date . tThere are many cases in which further financial assistance is given to theatres by way of indirect subsid y from local authorities and other bodies (e.g . nominal or reduced rents, remission of rates, services or good s given without charge, etc .). tin these cases the figures apply to a period other than twelve months. In all other cases the period is fo r a full year but not necessarily ending on 31st March . §Figures shown reflect surpluses on National Theatre Company seasons . IlAccounts not yet available.

The Arts Council of Great Britai n

Revenue and expenditure accoun t for the year ended 31st March, 196 7

1965/6 6

3,276,230 General Expenditure on the Arts in England (see Schedule 1 ) 4,711,597

161,556 General Operating Costs in England (see Schedule 2 ) 185,039

12,505 Capital Expenditure Transferred to Capital Accoun t 19,129

2,028 Reserve for Capital Purchase s 4,76 8

270,390 Grant to Scottish Arts Counci l 467,83 6

209,922 Grant to Welsh Arts Counci l 305,00 0

4,817 Balance carried dow n 49,40 9

£3,937,448 f:5,742,778

70,612 Balance carried forward to Balance Shee t 120,02 1

£70,612 £120,021

1-96576fi

- 3,910,000 Grant in Aid : H .M . Treasury 5,700,00 0

1,500 Cancellation of Reserve for Loan s

514 Transfer from Theatre Royal, Bristol Reserve Fund _ _ _ -

- Transfer from Reserve for Special Art Projects 1,00 0

Cancellation of Grants, Guarantees 16,526 and provision for expenses in previous year not required 20,99 9

Sundry Receipt s Interest: Bank and Investment _20,334 _ Proceeds of Sale of Assets 420 _ Miscellaneous 25 _ - 8,908 -- 20,77 9

£3,937,448 - - - -- £5,742,77 8

_ 65,795 Balance brought forward at 1st April, 1966 70,61 2

4,817 Balance brought down 49,40 9

------£70,612 - £120,021

The Arts Council of Great Britai n

Balance shee t as at 31st March, 196 7 Liabilitie s

1966 £ £ Capital Accoun t Balance as at 31st March, 196 6 157,77 6

Add Capital Expenditure during year transferred fro m Revenue and Expenditure Accoun t 19,12 9 176,90 5

Less Book Value of Assets sold or written of f 6,433 157,776 170,47 2

Revenue and Expenditure Accoun t 70,612 Balance as at 31st March, 196 7 120,02 1

38,243 Special Funds (see Schedule 5 ) 40,52 6

Reserve for Special Art Project s Balance as at 31st March, 196 6 19,49 7 Less Amount transferred to Revenue and Expenditure Accoun t 1,000 19,497 18,49 7

152,975 Grants and Guarantees Outstandin g 274,31 3

2,028 Reserve for Capital Purchases 4,768

Credit Balances Sundry Creditors and Accrued Liabilities 49,78 9 Due to Welsh Arts Counci l 41 58,01 9 49,830

£499,150 Carried forward £678,427

Assets

1966 £ £ £ Office Equipmen t _ At valuation as at 31 st March, 1956, and additions at cost less items sold or written off to 31st March, 1966 24,570 Additions at cost during year 2,605 _ -- 27,175

Less items sold or written off during year 405 24,570-- - 26,770 Motor Vans and Cars At cost as at 31st March, 1966 11,417 _ Less items sold or written off during year 3,097 -- 8,320 ---- 11,417 - Cello Account _ 100 At valuation as at 31st March, 1960 100 Theatre and Concert Hall Equipment At valuation as at 31st March, 1965, and additions at cost less items sold or written off to 31 st March, 1966 1.0,763 Additions at cost during year 261 11,024

Less items sold or written off during year 35 10,763 _ _ 10,989 Art Exhibition Equipmen t _At -valuation as at 31st March, 1956, and additions at cost _ _ _ less items sold or written off to 31st March_, 1966 12,692 Additions at cost during year 284 _ 12,976

Less items sold or written off during year 2,884 12,692 10,092 Works of Art At cost as at 31st March, 1966 _ 91,083 Additions at cost during year 15,386 106,469 91 ,083 - - - - - Reproductions At valuation as at 31 st March, 1957, and additions at cost less items written off to 31st March, 1966 _ 7,151 Additions at cost during year 593 _ 7,744

Less items sold or written off during year 7,151 7,732

38,243 Special Funds: Assets (see Schedule 6) 40,526

£196,019 Carried forward £210,998

Balance sheet as at 31st March, 1967 Liabilities

1966 £ £ 499,150 Brought forward 678,42 7

Note : No provision has been made for depreciation of Assets : renewals are charged to Revenu e

£499,150 £678,427

I have examined the foregoing Account and Balance Sheet . I have obtained all th e information and explanations that I have required and I certify, as the result of my audit, that i n my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an d fair view of the transactions of the Arts Council of Great Britain and of the state of their affairs .

Signed : B. D . Fraser ComptrollerandAuditor General, Exchequer and Audit Department, 4th August, 1967

Assets

1966

196,019 Brought forward _ 210,998

_Loans to Associated and Other Organization s - Secured by Mortgage Balance as at 31 st March, 1966 _ 2,500 _ Less repaid during year 125 _ ------2,37 5

Secured by Investment _ 3,330 _ 5,830 5,70 5 Investments - 41 per cent British Electricity Guaranteed Stock 1974/79 _ (Market Value £2,338) 2,41 9 Equities Investment Fund for Charities _ (Market Value £2,808) 2A-32- 4,851 4,85 1

181,200 Grants and Guarantees Paid in Advance 320,926

225 Wigmore Hall Canteen Stock 252

Sundry Debtors and prepayments 27,556 _ _ Expenditure on future exhibitions in preparation 6,13 6 Due from Scottish Arts Council 37 _ Due from Welsh Arts Council _ 10,425 _ 60,372 44,15 4

_ On Bank Deposit 85,938 _ - -OnOn Current Account 4,502 ------931 _ In Hand 170 _ 50,653 91,54 1

£499,150 £678 427

Chairman : Goodma n

Secretary-General : Nigel J. Abercrombie

The Arts Council of Great Britai n

Schedule 1 General expenditure on the arts in Englan d for the year ended 31st March, 1967

Music Opera and Ballet __ - Grants and Guarantees (see Schedule 3) 2,140,80 0

Opera for All: Gross Expenditure _ 41,09 9 Less : Revenue 15,276 25, 8. 2_3 _ Symphony Orchestra s Grants and Guarantees (see Schedule 3) 573,663 _

Other Activities _ Grants and Guarantees (see Schedule 3) 112,732

Wigmore Concert Hall : ___ - Gross Expenditure (including costs of repairs to building) 19,464 _ Less : Revenue 11,080 8,384 Less : Surplus on Wigmore Hall Catering 128 8,25 6 Audition Expenses 65- - 2,861,33 9

Drama Grants and Guarantees (see Schedule 3) _ 1,352,22 3

Art Grants and Guarantees (see schedule 3) 46,246 _ Net Cost of Exhibitions (see Schedule 4) 90,97 3 Art Films Tours Gross Expenditure 2,01 4 Less : Revenue 1,049

Art rums: Giacometti 2,25 0 The Pre-Raphaelite Brotherhood 1,50 0 The Nativity 1,1_51 _ Duchamp 38 British Film Institute : Sundry Expenses _ 1 2 - - 4,95 1 Less: Turner (Surplus) 246 4,70 5 South Bank Gallery: Designer's Fees and Expenses 524 143,413

Festivals Grants and Guarantees (see Schedule -3)-- _ 30,238

Literature (including Grants and Guarantees (see Schedule 3) 50,12 3 Poetry) PoetryLibrary and Miscellaneous Expenses -1 -,42-7- 51,55 0

87,47 4 Arts Associations Grants and Guarantees (see Schedule 3) 2,91 Arts Centres and Arts Clubs Grants and Guarantees (see Schedule 3) 0

Housing the Arts Grants (see Schedule 3) Music 32,250 Drama 92,050 Art 44,450 Arts Centres 13,700 182,450

Net Expenditure transferred to Revenue and Expenditure Account £4,711,597

The Arts Council of Great Britai n

Schedule 2 General operating costs for the year ended 31st March, 196 7

£ £ Salaries and Wages: Music 17,05 8 Drama 15,41 1 Art 20,73 5 Literature 6,56 7 Finance 27,127 Administration 25,326 112,224 Superannuation 14,769 126,993

Travelling and Subsistence 7,45 5

Rent and Rates 16,86 0

Fuel, Light and House Expenses 13,01 8

Publicity and Entertainment 6,494

Stationery and Printing 3,898

Professional Fees 248

Office and Sundry Expenses 10,07 3

Transferred to Revenue and Expenditure Account £185,039

Note : Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .

The Arts Council of Great Britai n

Schedule 3 Grants and guarantees for the year ended 31 st March, 196 7

Music Opera and Ballet £ _ £ Royal Opera House, Covent Garden Limited 1,225,000' _ Sadler's Wells Trust Limited 638,000'_ Two Ballets Trust Limited _ 97,500 ' London Opera Centre for Advanced Training_and Development Limited___ 59,500 ' English Opera Group Limited 40,000' _ Western Theatre Ballet Limited 30,00 0 _ _Ballet for All 15,500' - _ Balmin Productions Limited _ 14,000 ' _ National School of Opera 4,000' _ D'Oyly Carte Opera Trust Limited 2,500 Handel Opera Society 2,250 ' Intimate Opera Society Limited _ 2,000 • Harlequin Ballet Trust Limited 1,87 5 New Opera Company Limited 1_,000 ' _ Cambridge University Opera Society 800 ' Opera Players Limited 750 London Opera Group (Epsom) 650 ' _ Hintlesham Festival Trust Limited 600 ' Midland Sinfonia Concert Society Limited _ 540 _ Philopera Circle 477 Phoenix Opera Limited _ 450' _Chelsea Opera Group 400' _ Morley College Opera Group 350 ' Opera da Camera (N .E . Midlands) _ 300 Liverpool Grand Opera Company _ 250 Clare College, Cambridge 21 8 Figaro Opera Group 200 Southampton University Arts Festival Committee 200' University College London Music Society 200 ' Kentish Opera Group _175 ' Maidstone Opera Group 175 -- Opera 1961 - - 150 Bristol Opera School _ 100 _ _Friend s of Covent Garde n _ London Borough of Croydon_ (Fairfield Hall) _ 100 ' _ Opera in the Marches 100 Unicorn Theatre Club (Abingdon) 100 Ashleyan Opera Group 80 Bath Opera Group _75 - Sacred Music - Drama Society _ 75 _ Southern Region Opera Company Limited 60 2,140,800 Orchestra s London Orchestral Concert Board Limited _212,50 0 Western Orchestral Society Limited (Bournemouth Symphony Orchestra) 83,350 ' - . _ Hal16 Concerts Society 72,100 Royal Liverpool Philharmonic Societ y 68,000 ' City of Birmingham Symphony Orchestra 65,500 ' Northern Sinfonia Concert Society Limited 28,550 ' London Philharmonic Orchestra Limited 20,500 * Eastern Authorities Orchestral Association _ 15,300 ' Philomusica of London Limited - - - 3,000 -' 2,500 Nolypnoma Limiteo 1,513 - New Philharmonia Orchestra Limited _ 500 Royal Philharmonic Orchestra Limited 350' 573,66 3 Carried forwar d - £2,714,463

'Maximum commitments are shown, not necessarily the amounts paid . 88

Brought forward 2,714,46 3 Musi c Other activitie s (continued) National Federation of Music Societies 49,493 ' Cheltenham Arts Festival Limited 4,950 Brighton Philharmonic Society Limited 4,000 ' Royal Philharmonic Society 4,000 ' English Bach Festival Trust 3,180 Tees-side International Industrial Eisteddfod 3,104 Aldeburgh Festival of Music and the Arts 3,000 Three Choirs Festival Association Limited (Worcester) 3,000 ' Westminster Abbey 3,00 0 English Chamber Orchestra and Music Society Limited 2,50 0 Youth and Music Limited 2,500 ' Bristol Sinfonia Limited 2,000 ' Midland Sinfonia Concert Society Limited 2,000 ' Macnaghten Concerts 1,885 ' Society for the Promotion of New Music 1,50 0 Standing Committee on the Employment of Musicians 1,000 John Alldis Choir 900 Park Lane Group Limited 750' Dolmetsch Foundation (Haslemere Festival) 700 Medway Towns Joint Committee for Arts and Entertainment 629' Lake District Festival Society 600' Tilford Bach Festival Choir and Orchestra 560' Nottingham Theatre Trust Limited 500 _ Thames Concerts Society 500 Sutton Coldfield Philharmonic Society 458' Robert Mayer Concerts Society Limited 450' Southern Orchestral Concert Society 450' Cheltenham Chamber Orchestra Association 400' South Place Sunday Concerts 400' Leeds International Pianoforte Competition 375' Orchestra da Camera (Birmingham)_ 350' Tilford Bach Society 340' Institute of Contemporary Arts (Music Section) 330' Guildford Corporation 300' Isle of Wight Subscription Concerts Society 300' Contemporary Concerts Co-ordination 250' Manchester Mozart Orchestra Society 250' St Clement Danes Music Society 250 ' Soho Music Society 250 ' Hounslow Concert Society 225 National Music Council of Great Britain 225 National Trust Concerts Society Limited 225 St John of Beverley Festival Committee 220 Manchester Tuesday Mid-day Concerts Society 210 • Berlioz Centenary Committee 200 Elizabethan Singers 200' Heinrich Schutz Choir 200 Ipswich Civic Concerts 200 London Bach Society 200 Shakespeare's Birthplace Trust 200 Leicester University Arts Festival 170 • Presentation of New Artists Society Limited 150 International Organ Festival, St Albans 145 New Cantata Orchestra of London Limited 145 ' Newbury String Players 145 Carried forward £104,464 £2,714,46 3

'Maximum commitments are shown, not necessarily the amounts paid.

Brought forward_ 104,464 2,714,463 Music Other activities (continued) (continued) Scuola di Chiesa 135_' --- Stour Music Committee _ 125 Linton Music Society 100 Redcliffe Concerts of British Music 100 Renaissance Society _ 100' County Concerts Limited 75' Madley Festival Society 75 Musica Antica a Nuova 60' Friends of Canterbury Cathedral 50 Royal Musical Association 50 Sheffield Bach Society 50 Southern Cathedrals Festival Society 49 Talbot Lampson School -for Conductors and Accompanists ___40 Midlands Arts Centre for Young People _ 15' Commissions 836' Bursaries and Awards 6,408' 112,732

Drama Barrow-in-Furness: Renaissance Theatre Trust Company Limited 9,100' Birmingham Repertory Theatre Limited 40,588 Bournemouth Theatre Trust Limited _ 9,352' _ Bristol Old Vic Trust Limited 44,976' Bromley Theatre Trust Limited 17,250' Bury St Edmund's Theatre Management Limited 2,000 Cambridge : Arts Theatre of Cambridge Limited 1,600' Canterbury Theatre Trust Limited 11,275" Century Theatre Limited 25,200" Cheltenham Every man Theatre Company Limited 24,100' Chesterfield Civic Theatre Limited 6,398' Chichester Festival Theatre Productions Company Limited 10,000 Colchester Repertory Company Limited 16,999 ' Coventry. Belgrade Theatre Trust {Coventry) Limited 41,41 3 _ Crewe Theatre Trust Limited _ 5,338 _ Derby Playhouse Limited__ _ 15,776' _ Farnham Repertory Company Limited 6,706' Guildford: Yvonne Arnaud Theatre Management Limited 23,350' Harrogate (White Rose) Theatre Trust Limited 11,935' Hornchurch Theatre Trust Limited 15,100' Ipswich Arts Theatre Trust - 19,258' Kingston-upon-Hull New Theatre Company Limited 2,750 _ Leatherhead Repertory Company Limited 16,100' Leicester Theatre Trust Limited 21,501 ' Lincoln Theatre Association Limited 29,875' _Liverpool liveryman Theatre Company Limited 5,927 Liverpool Repertory Theatre Limited 31,858'

London: African Music and Drama Trust 1,337 Caryl Jenner Productions Limited 5,335 Children's Theatre (Westminster) Limited 350 _ _ English Stage Company Limited 88,650' Hampstead Theatre Club Limited 1,348 I.T. Productions Limited 2,365' _ London Academy of Music and Dramatic Art 1,000 - London Traverse Theatre Company 3,206' Carried forward £569,316 £2,827,195 'Maximum commitments are shown, not necessarily the amounts paid.

£ £ Brought forward 569,316 2,827,19 5 Drama Margate Stage Company Limite d 550 (continued) Mermaid Theatre Trust Limited 20,500 ' National Theatre Board 306,000 ' Negro Theatre Worksho p 300 Newstage Limite d 6,00 0 Perdita Productions Limited 374 Piccolo Theatre Company 500 Quipu Limite d 825' Repertory Player s 1,055 ' Theatre Centre Limite d 3,50 0 Wimbledon Theatre: London Borough of Merto n 3,000

Malvern Festival Theatre Trust Limite d 3,976 - Manchester Public Libraries : Libraries Committe e 44 Northampton Repertory Players Limited 16,102 - Nottingham Theatre Trust Limite d 44,48 1 Nottingham Theatre Trust Limited (Newcastle-upon-Tyne ) 6,650 ' Oldham Repertory Theatre Clu b 7,000 - Oxford : Meadow Players Limited 47,475 - Oxford University Theatre 26 Plymouth Arts Guil d 5,000 ' Prospect Productions Limite d 27,005 ' Richmond Theatre Productions Limited (Surrey ) 7,200' _ Rosehill Arts Trust Limite d 1,50 0 Sadler's Wells Trust Limited 143 Salisbury Arts Theatre Limited 16,236 ' Scunthorpe Civic Theatr e 50' _ Sheffield Repertory Company Limited 38,400 ' Stoke-on-Trent : Studio Theatre Limite d 17,984 ' Stratford-upon-Avon : Royal Shakespeare Theatre 153,341 - Watford Civic Theatre Trust Limited 9,078 - Worcester Arts Association (S .A .M .A .) Limited 2,000 York Citizens' Theatre Trust Limited 20,800 - Association of British Theatre Technician s 250 British Centre of the International Theatre Institut e 250 British Institute of Recorded Soun d 940 ' Council of Repertory Theatres 350 'Gambit ' 250 Training Scheme Bursaries and Expenses 10,760 ' New Drama Bursaries and Expenses 3,012' 1,352,22 3

Art Birmingham : Ikon Gallery 50 Midlands Arts Centre for Young People 200

Bournemouth Arts Clu b 200' Brentwood Art Society 30 Bristol : Arnolfini Gallery Limite d 700' Bromley Art Society 75 ' Bruton Art Societ y 50

Cambridge : Clare College Picture Guild 50 Form Magazine 100 Carried forward £1,455 £4,179,418

'Maximum commitments are shown, not necessarily the amounts paid .

B_rought forward 1_,45.5- 4,179,41 8 Art Christchurch : Red House Museum and_Art_ Gallery__ _ _ - 100' _ (continued) Colchester An Society 75' _- Felixstowe Urban District Council _ 25 Folkestone : New Metropole Arts Centre Limited 85.0'-_ _ Ilkley Art Club 30 Lake District Art Gallery-Tru_s_t _ 1,600 ' Leeds University Union 125' - Leicester University Students' Union 100 '

London : Artists International Association 500 Art Placement Group _ 60 Association of the Polish Artists in Great Britain _60 ' British -Puppet and Model Theatre Guild 396 Council for the Care of Churches _ 250 Free Painters and Sculptors Limited _200 ' Institute of Contemporary Arts 14,500 ' Italian Art and Archives Rescue Fund 1,000 The London _Group _600' Printmakers' Council 250 Society for Education through Art 500 ' Surrey University Students' Union_ 50 United Kingdom National Committee of the International Association of Art 300 ' Whitechapel Art Gallery 5,000 ' Women's International Art Club 300' Young Contemporaries 1967 325 *

Manchester : Northern Crafts Centre Limited 150 Northern Young-Contemporaries 300'

Newcastle Society of Artists _25_ _ Newlyn Society_of Artists 350' _Norfolk_Contemporary Art Society 50' __Nottingham_ Midland Group of Artists -__ 1,450 '

Oxford : _Bear Lane Gall_e_ry Limited 1,100 ' _Museum of Modern An-Limited 90_0 ' _ University_Art Club - - -35 -

_ Penwith Society of Arts 1,400 ' Plymouth City- Museum and Art Gallery 100 Reading Festival of the Arts 50' Southampton University_Film Unit_ 200 Stroud Festival Art Committee 70 _ ---Sudbury : Gainsbor_ough's House Society - 100' _ Truro and District Art Society _ 35 Welland Valley Arts Society 1 0 Wellingborough Art Society 50 __ Welwy_n_Digswell Arts Trust__ 150' _ Worthing Museum and Art Gallery 40 _ _ Wycombe Arts _Festival _ 30' - __ B_ursaries___ 4,700 Purchase Awards 4,600 _ Commission---s -- - - -1,700 '- 46,24 6 Carried forward £4,225,66 4 'Maximum commitments are shown, not necessarily the amounts paid.

f £ £ Brought forward 4,225,664 Arts Festival s Bath Festival Society Limited 3,50 0 Battle and District Arts Grou p 237 Bromsgrove Festival Limited 500 Cambridge Festival Association Limited 500 Dawlish Arts Festival Society 150 Dorchester Abbey Festival Committee 105 _ Harrogate Festival of Arts and Sciences 2,500 King's Lynn Festival Committe e 2,450 ' Little Missenden Festiva l 225'

London : Camden Arts Festiva l 3,00 0 Festival of the City of Londo n 7,00 0

Ludlow Festival Society Limited 1,46 1 Macclesfield Arts Festival Limite d 300 Medway Arts Counci l 349 St Peter's Netherseale, Parochial Church Council's Festival Committe e 200 Plymouth Arts Guil d 750' Radcliffe Arts Festival Committee 50 Ryedale Festival of Music and Dram a 25 Saffron Walden Festival Committe e 100 ' Stroud Festival of Religious Drama and the Arts 300' Wycombe Arts Festival Committee 36' York Festival Society Limite d 6,500 30,238 Literature Apollo Society Limite d 500 (including Poetry) Cheltenham Arts Festival Limited : Cheltenham Festival of Literatur e 910 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea ) 8 Hampstead Theatre Club Limite d 800 International PEN (English Centre) 1,500 ' Leicester University Arts Festiva l 250 ' Lewes Poetry Grou p 25 ' London Library Trust 5,000 National Manuscript Collection of Contemporary Poets Fun d 500

Poetry Book Society Limited : Genera l 1,900 - National Library Wee k 500 * 2,40 0 Poetry Societ y 2,000 - Ryedale Festival of Music and Dram a 50 Society of Barrow Poets 600' Surrey University Students' Unio n 50' Trustees and Guardians of Shakespeare's Birthplac e 475 Yorkshire Council of Social Servic e 250

Publications: 'Adam International Review ' 500 'Agenda ' 400' 'Ambit' 100 'Aylesford Review' 150 'Expression' 50' 'Extra Verse ' 100 ' 'London Magazine' 2,000 'Modern Poetry in Translation ' 300 ' Carried forward £18,918 £4,255,902

'Maximum commitments are shown, not necessarily the amounts paid.

Brought forward 18,918 4,255,90 2 Literature Publications : (continued ) (including Poetry) 'New Measure' 30' (continued) 'Outposts' 200 'Solstice' _ 50' _ 'Transatlantic Review ' 1,200 '

Bursaries 17,950 _ Maintenance Grants 6,575 ' Prizes 4,000

50,12 3 Arts associations Lincolnshire Association 14,849 ' Midlands Association for the Arts : Administration 1,750 _ Transport Subsidy 500' 2,250 Arts Centres and Arts Clubs : Alfreton and District Arts Association 125' Bridgnorth : Theatre on the Steps 350' Cannock Arts Council 150' Coventry : Umbrella Club 390' Dudley Arts Council 250' _Kettering and District Three Arts Clu b 100' Leek and District Arts Council 125' Rugby: Percival Guildhouse 150' _ Shirebrook and District Three Arts Club 25 Shrewsbury and District Arts Associatio n _ 250' _ Stafford and District Arts Council 400' _ Wolverhampton Civic Hall Arts Society 30 0 Worcester Arts Associatio n - 3 ------4,62 5 North Eastern Association for the Arts 60,000 South Western Arts Association : Administration 3,75 0 Transport Subsidy 250' 4,00 0

'Cornish Review' 500

Arts Centres and Arts Clubs : Beaford Arts Centre Arts Society 150• Beaminster Arts Society 1.00 Blandford Arts Club 75 Bridgwater and District Guild 300 Bristol Arts Centre 300' - - - Dawlish Winter Arts Concerts 35 Exeter Arts Group 150 Exeter University Arts Festival 135 Falmouth : Royal Cornwall Polytechnic Society 350 IsleofPurbeckArtsClub 50' aun~tonSocietyof Arts 50' MineheadArts Festival 70 ' MineheadArtsSociety 100 Newton Abbot Societyof Arts 50 ' PlymouthArtsCentre 350 St AustellArts Centre 350 Carried forward £7,115 £79,474 £4,306,025

'Maximum commitments are shown, notnecessarilythe amounts paid . 94

£ £ £ Brought forward 7,115 79,474 4,306,02 5 Arts associations South Western Arts Association (continued ) (continued) Arts Centres and Arts Clubs (continued ) Shaftesbury and District Arts Club 350 Taunton Deane Society of Arts 60 Truro Three Arts Society 50' Warminster Arts Club 50 Weston-super-Mare Society of Arts 25 Weymouth and South Dorset Arts Centre 350 8,000 87,474 Arts centres and arts clubs Beccles and District Arts Society 35' Crewe and District Music and Arts Society 75• Doncaster Arts and Museum Society 150 ` Folkestone: New Metropole Arts Centre Limited 350 Hastings : Stables Trust Limited 350 King's Lynn : St George's Guildhall Limited 500 Liverpool : Bluecoat Arts Forum 400 Manchester Institute of Contemporary Arts 400 Marple Arts Group 50 ' Northwich and District Society of the Arts 150 ' Tring Arts Society 200 Waltham Holy Cross Arts Council 100 West Wight Arts Association 65' Worsley Art and Music Society 85* 2,91 0 Housing the arts Musi c Aldeburgh Festival of Music and the Arts 25,000 County Borough of Bournemouth 5 000 Sadler's Wells Trust Limited 2,250 32,250 Dram a Bromley Theatre Trust Limited 9,25 0 Chichester Festival Theatre Trust Limited 21,050 ' Derby Playhouse Limited 1,250 Greenwich Theatre Limited 3,500 Liverpool Repertory Theatre Limited 20,000 Maddermarket Theatre Trust Limited 1,000 York Citizens' Theatre Trust Limited 9,000 Yvonne Arnaud Theatre Trust Limited 27,000 92,050 Art County Borough of Eastbourne 500 Dorset Natural History and Archaeological Society 1,45 0

London : Living Arts Limited (ASAD) 40,00 0 Morley College 2,500 44,45 0 Arts Centres Birmingham : Cannon Hill Trust Limited 5,000 Boston : Blackfriars Trust 250 Bridgnorth : Theatre on the Steps 250 Kenton Theatre (Henley-on-Thames) Society Limited 5,450 Lincolnshire Association 300 Royal Cornwall Polytechnic Arts Committee 750 Shaftesbury and District Arts Club 1,700 13,700 £4,578,859 'Maximum commitments are shown, not necessarily the amounts paid .

The Arts Council of Great Britai n

Schedule 4 Art exhibition s

Gross Expenditure

Transport 55,05 2

Organizing 44,16 5

-- -- Insurance - - - 10,623 -

Catalogues 25,25 2

Publicit y 13,10 3

Materials 5,95 8

- Hiring-F6-es- 421 154,57 4

Less : Revenue

Admissions 31,290

Catalogue Sales

Exhibition Fees 10,65 0

Sale of -Seligman Library - 1,576 -- 63,60 1

Net Expendituretransferred to Schedule 1

The Arts Council of Great Britain

Schedule 5 Special funds

£ £ £ Pilgrim Trust Special Fun d As at 31st March, 1966 1,893 Add : Income during year 11 1 2,004 Less : Payments during year 274 1,730

H . A . Thew Fun d Capital Account 7,77 3 Income Account : Balance as at 31st March, 1966 699 Add: Income during year 41 3 1,11 2 Less : Payments during year 200 912 8,68 5

Mrs Thornton Fun d Capital Account 5,124 Income Account : Balance as at 31 st March, 1966 750 Add : Income during year 41 5 1,165 Less : Payments during year 595 570 5,694

National Manuscript Collection of Contemporary Poets Fun d As at 31 st March, 1966 2,088 Add : Income during year 18 2,106 Compton Poetry Fun d Capital Account : Balance as at 31st March, 1966 18,22 2 Add : Investments acquired 3,571 21,79 3

Income Account: Balance as at 31st March, 1966 1,69 4 Add : Income during year 1,38 5 3,07 9 Less : Amount invested 2,561 518 22,311

Total Special Funds as per Balance Sheet £40,52 6

The Arts Council of Great Britai n

Schedule 6 Special funds : Assets as at 31st March, 196 7

Nominal Market Book Value Value Value £ £ _ Pilgrim _Trust _Special Fund _ 5 per cent Treasury Bonds _19.86/89 _ 744 621 647 _Equities Investment Fund for Charities 61 9 751 650 Cash on Bank Deposi t 433 1,730

H. A . Thew Fund 3 per cent British Transport Stock -11 978/88 2,105 1,305 1,93 7 32 per cent Conversion Stock 2,810 1,531 2,76 8 Equities Investment Fund for Charities 2,922 3,543 3,06 8 Cash on Bank Deposit 91 2 8,68 5

Mrs Thornton Fun d _ 2Z per cent Consolidated Stock_ 665 259 489 _ 51 per cent Conversion Stock 1974 (PO Issue) 200 190 203 --- -3-per cent British Transport Stock 1978/8 8___ _ 355 _ 220 337 _5z per cent Funding Stock 1_9_82/8 4 110 101 100 5 per cent Treasury Bonds 1986/89 1,825 _ 1,524 1,58 8 Equities Investment Fund for Charities 2,217 _2,6_88_ 2,32 8 Cash on Bank Deposit 649 5,69 4

National Manuscript Collection o f _ _Contemporary Poets Fund _ Manuscripts at cost 1,140 Cash on Bank Deposit 966 2,10 6

Compton Poetry Fun d Albright and Wilson Limited 234 791 872 Associated Electrical Industries Limited 200 385 381 British American Tobacco Company Limited 200 1,510 1,01 0 Brown Bayley Limited 480 675 1,740 Commercial Union Assurance Company Limited 80 752 _ _6.5.0_ _County Council of Essex 5-. per cent Redeemable Stock 1975/77 1,000 910 966 Distillers_Co_mpany Limited_ 345 638 71 9 D owty Group Limited 525 919 1,004 English and Scottish Investors Limited 600 1,920 1,59 0 Equities Investment Fund for Charities 2,141 2,654 2,56 1 George G . Sandeman Sons and Company-Limited 500 1,188 1,27 5 __Group_Investors Limited 800 1,320 1,28 0 _ Liverpool Corporation 53 per cent _ Redeemable Stock 1976/7_8 1,500 1,365 1,47 0 London Scottish American Trust Limited _ _600 1,650 _ 1,68 0 _ Lyon and Lyon Limited _ 375 637 - 1,06 7 Royal Insurance Companyompany -LimiteLimitedd - 105 766 727 Schweppes Limited 300 900 722 Shell Transport and Trading Company Limited 250 1,913 2,07 9 - -- - - Cash on Bank Deposit - 51 8 ------22,31 1 - £24,807 £33,62 6

Total Special Funds: Assets as per Balance Sheet £40,526

The Scottish Arts Counci l

Revenue and expenditure accoun t for the year ended 31 st March, 1967

1965/6 6

243,853 General Expenditure on the Arts (see Schedule 1 ) 391,929

26,246 General Operating Costs (see Schedule 2 ) 33,795

2,177 Capital Expenditure Transferred to Capital Accoun t 4,93 6

260 Reserve for Capital Purchases

377 Balance carried down 40,32 7

£272,159 £470,987

6,995 Balance carried forward to Balance Sheet 47,32 2

_ £47,322

------1965/66 -

- 270,390 Grant from the Arts Council of Great -Britain - 467,83 6

Cancellation of Grants and Guarantee s _ --- 1,158 In previous year not required 1,20 5

- Amount Transferred from Reserve for Capital Purchases _ 260

Sundry Receipts Interest on Deposit Account 1,66 7 _ Proceeds of Sale of Assets - Miscellaneous 1 9 - - - - - 611 1,68 6

------£272,159 £470,98 7

7,372 Balance brought forward at 1 st April, 1966 6,99 5

377 Balance brought down -40,32 7

------£6,995 - --- - £47,322

100

The Scottish Arts Counci l

Balance shee t as at 31 st March, 1967 Liabilities

1966 £ £ £

Capital Accoun t Balance as at 31st March, 1966 28,63 7 Add: Capital Expenditure during year transferred fro m Revenue and Expenditure Account 4,936 33,573 Less : Book Value of Assets written off: 263

28,637 33,31 0

Revenue and Expenditure Account

6,995 Balance as at 31st March, 1967 47,32 2

4,456 Grants and Guarantees Outstanding 16,28 6

Reserve for Capital Purchases Balance as at 31st March, 1966 260 Less : Amount transferred to Revenue and Expenditure Account 260 260 -

Credit Balances Sundry Creditors and Accrued Liabilities 4,88 2

Due to Headquarters 37 3,924 4,919

Note : No provision has been made for depreciation of Assets : renewals are charged to Revenue.

£44,272 £101,83 7

1 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 Accoun t and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of th e Scottish Arts Council and of the state of their affairs .

Signed : B. D . Fraser . Comptroller and Auditor General, Exchequer and Audit Department, 4th August, 1967

101

Assets

1966 Freehold Property

8,307 11 Rothesay Terrace, Edinburgh -8,3097 Office Equipment - At valuation as at 31st March, 1955, and additions a cost sold or written off to 31stMarch, 1966 4,534 Additions at cost during yea r

_Less : Items written _ojffduringthe year Items transferred to Art Exhibition Equipment _ _ _ -534 588 6326 _Moto r Cars - At cost Additions at cost during_ Tarr- 11451 2 390 Piano Account 00 Theatre and ConqeTtlIall Equipment-__ 683 At cost as_at 31st-Wqrchj _ ---6a3

- Art Exhibition Equipment ---- Transferred tfrom Office .Equipment 325 - ifio_ns,@tc-o-s-t-d~4riiig_ypa! - -242 567 _Works At cost as at 31st March, j966- - Additions at cost duringMene r 2,790- 14,765 _Fteprqdtjctiqn s -&-72 At cost

---3,000 - Grants and Guarantees Paidin-Advance 15500 __Debit Balances Sundry Debtors and payments in-advance-- 34800 Expenditure on future exhibitions in preparation 488 _

Dquit On Current- AccoAccounwt in_Fland 8.5 ------10,283- ---AW39

f44,272 E.1 D 1 .83-7-

Sjocre.tary-rGeneral.:-Nigel-J..-Abercro.mbie---.-

102

The Scottish Arts Counci l

Schedule 1 General expenditure on the arts for the year ended 31st March, 196 7

Music - Opera - Grants and Guarantees (see Schedule 3) 5. 3,870 Opera for Al I : __Gross Expenditure 6,497 Less : Revenue 1 , 787 - 4,71 0

_ Other Performances: Gross Expenditure 1,62 1 Less : Revenue 612 1,009 59,589 Ballet Tours Gross Expenditure 4,43 9 Less : Revenue 2,258 2,18 1 _- Symphony Orchestra Grant (see Schedule 3) 84,78 5

Other Activities Grants and Guarantees (see Schedule 3) 8,398 Concerts : - - Gross Expenditure -- - _ 12,830 Less: Revenue 4,852 7,978 16,37 6

Drama_ Grants and Guarantees (see Schedule 3)_ 144,62 2 Tours : Gross Expenditure 10,88 3 Less : Revenue 3,183 7,700 Puppet Tours: Gross Expenditure 592 Less: Revenue 423 _ 169 152,49 1

Art _ Grants and Guarantees (see Schedule 3) 9,18 4 Exhibitions : Gross Expenditure 10,88 6 Less : Revenue 3,73 1 - 7,15 5

Art Films: Gross Expenditur- e 41 2 Less: Revenue 104 308

Lecturers" Fees and Expenses 1,61 0 Less : Fees received 506 -- 1,104 17,75 1

Festivals Grants and Guarantees (see Schedule 3) 36,68 0

Poetry Grants and Guarantees (see Schedule 3) 2,05 0

Carried forward £371,903

103

Brought forward _ 371,903

Arts Centres and Arts Clubs Grants and Guarantees (see Schedule 3) 2,47 6

Housing the arts_ Grants and Guarantees (see Schedule 3) 17,55 0

Net Expenditure transferred to Revenue and Expenditure Account T £391,929

104 The Scottish Arts Counci l

Schedule 2 General operating'costs for the year ended 31 st March, 1967

£ £

Salaries and Wages 21,59 1

Superannuation 1,265 22,85 6

Travelling and Subsistence 2,42 9

Rates, Fuel, Light and House Expenses 3,11 4

Publicity and Entertainment 883

Stationery and Printing 1,22 4

Professional Fees 1,00 3

Office and Sundry Expenses 2.28 6

Transferred to Revenue and Expenditure Account £33,79 5

Note : Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .

105 The Scottish Arts Counci l

Schedule 3 Grants and guarantee s for the year ended 31 st March, 196 7

_Music Opera Scottish Opera Limited _ 51,670 Amateur Operatic Societies : Edinburgh Opera Company 200 Gilmorehill Chamber Opera Society 200' 1,800 - Glasgow Grand Opera Society - -- 53,87 0

Symphony Orchestr a Scottish National Orchestra Society Limited 84,78 5

Other Activities _ Aberdeen and District Organists' Association _ 1 5 Clarsach Society 100' Dunbar and District Choral Society 20'

Edinburgh : - - Edinburgh Churches Choir 100' Edinburgh Connoisseur Concerts Society 400' Edinburgh Organ Recitals Committee 170 _ Edinburgh Rehearsal_Orchestra 100 Edinburgh University Singers 225' Ferranti Musical Society 1 5 Martin Chamber Orchestra 120' National Gallery Lunch Hour Concerts 400' New Town Concerts 160' _ Saltire Society _ 150 St Mary's Episcopal Cathedral 193 Tuesday Folk Club 36 YMCA Piano Recital 10'

_ Glasgow Churches Oratorio Society 100 Haddo House Choral Society 678 Helensburgh Dorian Choir 10' Moray Arts Club - - - 15 - Musica Antica a Nu_ova 30' National Federation of Music Societies 4,200 Pitlochry_Festival Society Limited 400 640 - Bursarie s - - 111' Commissions - - 8,39 8

Drama Arbroath Abbey Theatre Club - __ 50' Bertha Waddell's Children's Theatre 635' _ Bo'ness : Barony_ Players 250 Dundee Repertory Theatre Limited 23,05 1 Edinburgh c Theatre Trust Limited 41,561 ' Edinburgh Traverse Theatre Club 7,000 ' __Glasgow Citizens' Theatre Limited _ 42,9_78 ' Perth RepertoryTheatre Limited 13,700 ' Pitlochry Festival Society Limited 14,30 0 St Andrews Play Club - Byre Theatre _ 8. 72 British Centre of the International Theatre Institute 50 Council of Repertory Theatres _ 50 Train-in _g Scheme Bursary - 125 _ 144,622 Carried forward £291,675

'Maximum commitments are shown, not necessarily the amounts paid.

106

f £ f Brought forward 291,67 5

Art Aberdeen Artists' Society 64 Dundee Arts Society 50

Edinburgh : Artists Print Workshop 500 Church of Scotland Youth Committee 78 English Speaking Union 237 Films of Scotland Committee : New Town Film 3,00 0 New 57 Gallery 100

Educational Films of Scotland 50 Galashiels Arts Club 75 •

Glasgow : Citizens' Theatre Limited 60' Glasgow School of Art Graduates Association 25 ' New Charing Cross Gallery 103 ' University of Glasgow 25

Helensburgh and District Art Club 1 7 Newton Stewart Art Club 75 ' Scottish Design Centre 300 Scottish Society of Women Artists 200 Bursaries 1,65 0 Commissions 150 6,75 9

Public Sculpture Scheme : Cumbernauld Development Corporation 50 ' Glenrothes Development Corporation 1,500 Lanark County Council 275 • Prestonpans Town Council 150' 1,97 5

Mural Awards: Edinburgh University 150 ' Glasgow Corporation 300' 450 9,184

Festivals Aberdeen Arts Centre Festival Week 60 Cumnock Burgh Festival Committee 200 Edinburgh Festival Society Limited 35,00 0 Ledlanet Nights 800 Montrose Festival of Music, Art and Drama 620 36,68 0

Poetry Edinburgh University Press 225' Gairm Publications 250 Lines Review _ 250 Scottish Association for the Speaking of Verse 100 • Wild Hawthorn Press 50 Bursaries 1,175 2,050

Carried forward 339,589

'Maximum commitments are shown, not necessarily the amounts paid

107

Brought forward 339,58 9

Arts Centres and arts Clubs Edinburgh : New 57 Gallery 300 Elgin Society Museum - 600' _ Galashiels Art Club 35 Greenock Arts Guild 666 ' Burgh of Hamilton 450 ' Orkney Federation of Voluntary Associations 100 325 ' ---Troon - Arts- -- Guild ------2,47 6

Housing the arts - Burgh of Motherwell_and Wishaw 10,000 Orkney Federation of Voluntary Associations _ 7,550 17,55 0 £359,61 5

'Maximum commitments are shown, not necessarily the amounts paid.

108

The Welsh Arts Counci l

Revenue and expenditure accoun t for the year ended 31st March, 196 7

1965/6 6

192,312 General Expenditure on the Arts (see Schedule 1 ) 257,91 6

22,223 General Operating Costs (see Schedule 2) 24,818

2,716 Capital Expenditure Transferred to Capital Accoun t 9,360

4,335 Balance carried down 15,048

£212,91 6 £307,202

1,510 Balance brought forward from 1st April, 1966 2,82 5

2,825 Balance carried forward to Balance Sheet 12,22 3

£4,335 X04 8

109

------1965/66 - £ £ £

209,922 Grant from the Arts Council of Great Britai n 305,00 0

_ Cancellation of Grants and Guarantees and provisions for fees and _ 872 expenses in previous year not required _ 583 _ Sundry Receipts ------_ Interest on Deposit Account 1,34 8 Proceeds of Sale -of Assets 250 Miscellaneous 21 2,122 1,61 9

------£212,91 6 £307,20 2

- 4,335 Balance brought down 15,048

- - - - - £4,334 £15,048

110 The Welsh Arts Counci l

Balance sheet as at 31st March, 1967

Liabilities 1966 £ £ Capital Account Balance as at 31st March, 1966 28,51 3 Add : Capital Expenditure during the year transferre d from Revenue and Expenditure Accoun t 9,36 0 37,87 3

Less : Book Value of Assets Sold 1,562 28,513 36,31 1

Revenue and Expenditure Accoun t 2,825 Balance as at 31st March, 196 7 12,223

23,304 Grants and Guarantees Outstandin g 14,767

Credit Balances Sundry Creditors and Accrued Liabilitie s 14,334 Due to Headquarters 10,425 21,920 24,759

Note : No provision has been made for depreciation of Assets : renewals are charged to Revenue .

£70,912 £88,060

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

Signed : B. D. Fraser. Comptroller and Auditor Genera/, Exchequer and Audit Department, 4th August, 1967

11 1

Assets

1966

Freehold Property 4,300 56 Ruby Street, Cardiff 4,30 0

Office Equipmen t _ At cost as at 31 st March, 1966 5,17 9 _ Additions at cost during_ year 564 5,179 -- -- - 5,74 3 Motor Cars and Van s At cost as at 31 st March, 1966 3,90 5 _- Additions at cost during year 3,63 6 - 7,54 1 Less : Items sold during year 1,56 2 3,905 - - 5,97 9 - _Theatre Properties and Equipmen t _ At cost as at 31 st March, 1966 2,17 7 Additions at cost during year 2,398 2 177 _ 4,57 5 ------_Works of Art At cost as at 31 st March, 1966 9,511_ Additions at cost during yea r 2,762 ------9,511 12,273 --Art_Exhibition Equipmen t 3,280 At cost as at 31st March, 1966 - 3,280 Reproduction s 161 At cost 161

-___ - Loans to Associated and Other Organizations 950

15,000 Grants and Guarantees Paid in Advance 10,000

Debit Balances Sundry_ Debtors and payments in advance 18,102 Due from Headquarters 41 8.437 ------18,143 - - Cas h On Bank Deposit 31,488 Less : Balance on Current Account - 8,907 22,581 Add : In Hand 75 - - 18.962 29 65R

£70,912 £88,060

Chairman of the Welsh Arts CouncilGwyn Jone s

Secretary-General Nigel J . Abercrombi e

The Welsh Arts Counci l

Schedule 1 General expenditure on the arts for the year ended 31st March, 1967

Music Opera Grants and Guarantees (see Schedule 3) 100,44 9 _ Opera for All :

_- . Gross Expenditure 12,03 4 Less : Revenue 5,477 6,557 107,00 6

Other Activities Grants and Guarantees (see Schedule 3) 15,49 2 Orchestral Concerts, etc .: Gross Expenditure 46,40 5 Less : Revenue 25,747 20,658 36,150

Drama Grants and Guarantees (see Schedule 3) 15,500 Welsh Theatre Company : Gross Expenditure 62,960 Less : Revenue 9,338 53,623 69,122

Art Grants and Guarantees (see Schedule 3) 2,97 6 Exhibitions : Gross Expenditure 17,192 Less : Revenue 2,480 14,71 2

Art Films Tours : Gross Expenditure 41 0 Less : Revenue 284 126 17,81 4

Festivals Grants and Guarantees (see Schedule 3) 15,858

Poetry and Literature Grants and Awards (see Schedule 3) 2,020 Poetry Anthology 21 Welsh Poetry Readings 225 2,266

Arts Associations Grants and Guarantees (see Schedule 3) 9,700

Net Expenditure transferred to Revenue and Expenditure Account £257,916

11 3

The Welsh Arts Counci l

Schedule 2 General operating costs for the year ended 31 st March, 1967

-£ -- - £

Salaries and Wages 13,704 -- - Superannuation 986 - - - - - 14,-690

Travelling_ and Subsistence -2.18 8 - - Rent and Rates 21380

_ Fuel, Light and House Expenses - - - 934

Publicity and Entertainment -2;190

Stationery and Printing ---1;1-43 - Off ice and Sundry Expenses 1,353

Transferred to Revenue and Expenditure Account -£24;878

- --- Endowment benefits due to members of the Pension Fund are assured byPolicies held-by the Council.

114

The Welsh Arts Counci l

Schedule 3 Grants and guarantees for the year ended 31st March, 196 7

Music Opera The Welsh National Opera Company Limited 100,44 9

Other Activities National Federation of Music Societies (Guarantees to Affiliate d Music Societies and Federation Administration) 3,64 0 Aberdovey and Towyn Music Club 155' Aberdudwy and Harlech Music Club 100 ' Abergavenny Three Arts Club 20' Aberystwyth Music Club 140' Aberystwyth University College of Wales Opera Group 250' Aclwyd yr Urdd, Cardiff 144 Ammanford Choral Society 160 Ammanford and District Arts Club 50' Bala Music Club 105' Bangor and District Organ Association 205' Bangor Musical Club 75 Barry and District Concerts Society 1,300 Bermo Arts Club, Barmouth 37 Bethesda Music Club 1 0 Blaenau - Ffestiniog and District Music Society 110 ` Brecon Music Club 95 ' Bridgend Recorded Music Club 150 Caerleon Community College Music Club 40 Caerphilly Male Voice Choir 70 Caerphilly Music Club 85 Caldicot Village College Music Club 70 ' Cardiff Anglo German Music Society 20 ' Cardiff High School Old Boys Association 100 Cardiff Music Club 105 Cardiff '66' Group 200 Cardigan Eisteddfod 85 Carmarthen Arts Club 33 Chepstow Community College Music Club 115 ' Colwinston Festival 100 Criccieth and District Music Club 115' Cwmbran Forum 325' Dee and Alun Music Society 200' Dolgellau Music Club 175' Dowlais United Choir 50 East Monmouthshire College of Further Education 120 Ebbw Vale Concert Society 75' Edeyrnion (Corwen) Arts Club 60' Gwent and Wye Federation of Townswomen's Guild 1 5 Holywell and District Choral Society 69 Holywell Music Society 45 Jerusalem Chapel Choir 40' Knighton and District Choral Society 238' Llandisfarm College Music Club 177' Llandudno Music Club 105' Llanelli Arts Club 630' Llanidloes Music and Arts Club 160' Machynlleth Music Club 100' Maelor Music Club 70' Merlin Music Society 1,750 ' Milford Haven Arts Club 61

Carried forward £12,349 £100,44 9

'Maximum commitments are shown, not necessarily the amounts paid.

11 5

Brought forward 12,349 100,44 9 Music Other Activities (continued) _ (continued) Neath and District Music and Arts Club 70' Neath Opera Group 350 Newport Choral Society 100 Newport College- of-Art Music Society 75' Newport_Music Club ------6 Newtown Music Club _ 110 ' Pendyras Male Voice Choir 100 ' Porthcawl and District Music Club 120 ' _ Pwllhelli Cultural Committee __ 25 Radnorshire County Music Committee 70' Rhyl Music Club 300 Rhymn_ey Valley Music Club 25' Ruthin Music Club -- 11 5 _ St Asaph Cathedral Arts Committee 45* Swansea and District Ballet Club 15' Swansea Music and Arts Club 300 Swansea Philharmonic Choir _ 140 Tabernacle Choir 107 Tenby and District Arts- Club - 95' Tonyrefail Adult Education Centre 20' Welshpool Music Club 95 West Wales Associaion of Brass Bands 60` Bursary - 700 - - --- Promotion of New Muusic-sic-:- CommissioCommissionn- Fees -- --- 100 - 15,492 Drama Cardiff: New Theatre Trust Limite d 11,000 Caricature Theatre Limited _ - - 2,250 Drama Association of Wales_ -- --- 2,000 _ Bursar y 250 15,500 Art Bangor Art Gallery 250 - Cardiff: Contemporary Art Society of Wales 350 University College Film Unit 400

Clwydian Art Society_ 20 Dolgellau : Neuadd Idris An Committe e 56' Group _ 150 Llantarnum Grange 450 Meifod: Council for the Protection of Rural Wales 21 0 Merioneth Artists Society 70 Neath and District Arts Club _ 50 North Wales Group 64 Pembrokeshire Arts Society 250 Pontypool and Eastern Valley Art Society 100 ' Prestatyn '57' Group 25 ' Pwllhelli Cultural Committee 75 _ St Asaph_Exhibition Committee 45 Society for Education through An 250 _South Wales Group -__ 100 Temple Gallery 1 2 - Wrexham ArtGroup 25' - Commissions 60,

Carried forward 134,41 7

'Maximum commitments are shown, not necessarilv the amounts paid. 116

Brought forward 134,41 7 Festivals Aberystwyth Arts Festiva l 250 Bangor Arts Festival 710' Bangor Music Festiva l 600 City of Bangor Arts Associatio n 150 Brecknock County Festival of Musi c 550' Caerphilly Festiva l 1,000 - Cardiff Festival of Twentieth Century Musi c 1,000 * Dee and Clwyd Festival of Musi c 500' Garthewin Drama Festiva l 350' Llandaff Festiva l 2,000 Llangollen International Eisteddfo d 5,000 Llantillio Crossenny Festiva l 200 Montgomery County Music Festiva l 900 National Eisteddfod : Port Talbot 100 Swansea Festival of Music and the Art s 2,03 8 Swansea Welsh Drama Festiva l 100 Swansea Arts Festiva l 125 ' St Woolos Festiva l 200 Vale of Towy Music Festiva l 85 15,858

Poetry and Literature 'Anglo Welsh' Revie w 250 Poetry Anthology 250 'Taliesin ' 200 Triskel Pres s 320' Bursarie s 1,000 2,02 0

Arts associations Anglesey Arts Fund 2,20 0 North Wales Arts Advisory Panel 7,500 9,70 0 El 61,99 5

'Maximum commitments are shown, not necessarily the amounts paid. Published by th e Arts Council of Great Britain 4 St James's Square London SW1

Typography by Gordon Hous e

8000 copies printed by Shenval Press

Headings set in Monotype Univers 69 3 14D on 16 pt and 10D on 11 p t

Text and accounts set in Monotype Univer s 693and6899Don11ptand8Don10pt

Cover: Superwhite smooth Ivorex s/o Royal 2 9

Text Paper : Mellotex Smooth Superwhite s/o DC 5 8

Blocks by Engravers Guild