DOCSLIB.ORG

Dylan Thomas CD Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dylan Thomas CD Booklet THE ESSENTIAL DYLAN THOMAS Includes Under Milk Wood – Richard Burton and cast Return Journey to Swansea – Dylan Thomas and cast MODERN ∼ CLASSICS Poetry and Stories Read by Richard Bebb • Jason Hughes • Philip Madoc • Michael Sheen NA434312D Preface The voice of Dylan Thomas, on paper or on advance and 10 per cent royalty deal a recording, is unmistakable. His rich play of thereafter, to fix a date to record. He failed language and images informed all his work to show on the scheduled day, but did and it was reflected in his distinctive manner make the next date (22 February 1952) at of performance which, like his life, was the Steinway Hall in New York. The large and vivid. All this rightly made him a recording engineer was Peter Bartók, son of personality as well as a poet – certainly, he the composer Béla Bartók. Thomas recorded left an unforgettable impression on all those poems and, when he realised there was he met. It was one reason why, in the latter space left on the LPs, added Memories of part of his career, he was so popular on the Christmas. American lecture and poetry circuit. This, of course, is a marvel for history He was, perhaps, the first outstanding but presents a particular challenge for poet-performer of the recording era. Many subsequent performers of his work. of his recordings remain, from those he Performance, like fashion, is shot through made for the BBC and also for the far- with the style of the period, and Thomas’s sighted Caedmon label in the US. We owe a style was declamatory and grand, in a way debt to the enterprise of both for marking that can sound dated in the 21st century. Thomas’s unique talent and putting him in His recorded poetry readings were often the studio, even though doing this was closer in style to public performance for an often a fraught, knife-edge business. He audience in a hall than for the intimate, nearly forgot to arrive at the BBC studios on one-on-one situation of an audiobook. Yet his first engagement – when radio was live! his natural talent and his charisma make his – and his first Caedmon recording was a recordings speak to us across the decades, similarly improvisatory experience. The two giving us a unique insight into the way in Caedmon founders, Barbara Cohen and which the poet himself thought of his work. Marianne Roney (just 22 years old), had So actors coming now to his stories, pursued him with telephone calls and poetry and broadcast programmes, which eventually persuaded him, with a $500 they will undoubtedly have heard and 2 absorbed, have to put their memories of his Thomas himself, which is why we have inflections and his personal dramatic view to brought together this unusual programme one side, in order to let their own featuring great historical recordings as well expression sing. This wasn’t the case with as new performances, given by some of the the first BBC recording of Under Milk Wood. finest Welsh actors of our time. Actors None of the actors who went into that speak for their day, and poets for all time. In studio in January 1954 had heard Thomas’s the end, we hope that you will find the own performances in New York – so they conjunction as vivifying to listen to as we could come to it entirely fresh. did to prepare. Yet the The Essential Dylan Thomas is Nicolas Soames designed to celebrate the many facets of Cover picture: Photograph of Dylan Thomas c. 1940; courtesy of AKG Images, London / Ullstein bild 3 UNDER MILK WOOD : A PLAY FOR VOICES 1 FIRST VOICE To begin at the beginning: 5:12 2 FIRST DROWNED Remember me, Captain? 1:38 3 FIRST VOICE From where you are… 0:30 4 MR EDWARDS Myfanwy Price! 1:18 5 FIRST VOICE Come now, drift up the dark… 1:44 6 MOTHER This little piggy… 2:16 7 FIRST VOICE Now, in her iceberg-white… 0:43 8 MRS OGMORE-PRITCHARD Mr Ogmore! 1:09 9 FIRST VOICE In Butcher Beynon’s… 0:28 10 ORGAN MORGAN: Help! cries Organ Morgan… 0:28 11 FIRST VOICE At the sea end of town… 0:27 12 UTAH WATKINS (Yawning) Thirty four, thirty five… 3:07 13 FIRST VOICE Now behind the eyes and secrets… 2:54 14 FIRST VOICE Time passes. Listen. Time passes 1:58 15 REV. ELI JENKINS Dear Gwalia! I know there are… 2:00 16 FIRST VOICE Now, woken at last by the out-of-bed… 0:23 17 LILY SMALLS Oh, there’s a face! 2:14 18 FIRST VOICE Mary Ann the Sailors… 2:39 19 FIRST VOICE Now frying-pans spit… 1:19 20 FIRST VOICE Mr and Mrs Cherry Owen… 1:32 21 FIRST VOICE From Beynon Butchers in Coronation Street… 1:10 22 FIRST VOICE Up the street, in the Sailors’ Arms… 2:38 23 CAPTAIN CAT (Softly, to himself) Maggie Richards, Ricky Rhys… 3:50 4 24 FIRST VOICE People are moving now, up and down… 3:28 25 FIRST VOICE There’s the clip clop of horses… 0:46 26 FIRST WOMAN Mrs Ogmore-Pritchard 1:01 27 FIRST VOICE Outside, the sun springs down… 1:32 28 FIRST VOICE And in Willy Nilly the Postman’s dark… 2:34 29 SECOND VOICE …herring gulls heckling down to the harbour… 2:07 30 FIRST VOICE The music of the spheres is heard distinctly… 2:33 31 POLLY GARTER I loved a man whose name was Tom… 3:44 32 FIRST VOICE And the morning school is over… 2:45 33 FIRST VOICE And the shrill girls giggle and muster around him… 1:46 34 GOSSAMER BEYNON I don’t care if he is common… 1:12 35 FIRST VOICE In the blind-drawn dark dining-room of School House… 3:31 36 FIRST VOICE Lord Cut-Glass, in his kitchen full of time… 4:41 37 FIRST VOICE Captain Cat, at his window… 4:12 38 FIRST VOICE The child says, and then she forgets him too. 1:23 39 SECOND VOICE The afternoon buzzes like lazy bees… 3:58 40 FIRST VOICE Now the town is dusk. 0:58 41 MR PRITCHARD You first, Mr Ogmore 1:30 42 REV. ELI JENKINS Every morning, when I wake… 1:52 43 FIRST VOICE Dusk is drowned forever until tomorrow. 1:57 44 FIRST VOICE Blind Captain Cat climbs into his bunk. 0:57 45 FIRST VOICE Mr Mog Edwards and Miss Myfanwy Price… 1:16 46 FIRST VOICE The thin night darkens. 0:46 5 RETURN JOURNEY read by Dylan Thomas and cast 47 NARRATOR It was a cold white day in the High Street… 4:58 48 NARRATOR I went out of the hotel into the snow… 6:02 49 NARRATOR And he hurried on, into the dervish snow… 5:23 50 NARRATOR The Hall is shattered… 5:55 51 NARRATOR Even now, on the frozen foreshore… 4:37 QUITE EARLY ONE MORNING read by Dylan Thomas 52 Quite early one morning in the winter in Wales… 3:19 53 The town was not yet awake. 3:16 54 And climbing down again and up out of the town… 3:01 55 Oh, the town was waking now… 2:50 POEMS read by Dylan Thomas 56 Lament 4:23 57 Poem on his birthday 6:43 58 And death shall have no dominion 1:51 59 Fern Hill 3:52 60 Do not go gentle into that good night 1:33 MEMORIES OF CHRISTMAS read by Philip Madoc 61 One Christmas was so much like another in those years… 5:12 62 Now out of that bright white snowball of Christmas… 4:08 63 We returned home through the desolate poor sea-facing streets… 2:58 6 THE PEACHES read by Jason Hughes 64 The grass-green cart, with ‘J. Jones, Gorsehill’ painted… 5:06 65 He backed the mare into Union Street… 6:34 66 ‘Can I go and see the pigs?’ 4:51 67 Gwilym’s chapel was the last old barn before the field… 4:26 68 The best room smelt of moth balls and fur… 6:44 69 Down the thick dingle Jack and I ran shouting… 7:07 70 Our door was open. 5:22 A VISIT TO GRANDPA’S read by Jason Hughes 71 In the middle of the night I woke… 3:32 72 In the morning I woke from a dream of fiery horses… 2:15 73 When we came to Llanstephan village… 4:35 74 ‘Where are we going?’ I asked 3:00 THE FOLLOWERS read by Michael Sheen 75 It was six o’clock on a winter’s evening. 4:47 76 The barmaid, with gold hair and two gold teeth in front… 4:18 77 Outside Rabiotti’s café, Leslie said… 4:50 78 All over the dripping town… 3:51 THE OUTING – A STORY read by Philip Madoc 79 If you can call it a story. 4:06 80 On Sunday evening, after Bethesda… 4:21 81 The charabanc drew up outside… 4:56 82 Time clouded over, the cows wondered… 3:35 7 POEMS From 18 POEMS 83 The force that through the green fuse read by Philip Madoc 1:27 From DEATHS AND ENTRANCES 84 The conversation of prayers read by Richard Bebb 1:32 85 A Refusal to Mourn the Death, by Fire, of a Child in London read by Philip Madoc 1:13 86 Elegy read by Philip Madoc 1:15 87 Poem in October read by Jason Hughes 2:55 88 The hunchback in the park read by Philip Madoc 1:41 89 A Winter’s Tale read by Richard Bebb 8:48 90 In my craft or sullen art read by Jason Hughes 0:51 91 Lie still, sleep becalmed read by Jason Hughes 1:08 92 Fern Hill read by Richard Bebb 3:31 From IN COUNTRY SLEEP 93 Over Sir John’s hill read by Philip Madoc 3:20 94 Poem on his Birthday read by Michael Sheen 5:46 95 Do not go gentle into that good night read by Philip Madoc 1:21 96 Lament read by Philip Madoc 3:19 From TWENTY-FIVE POEMS 97 Was there a time read by Philip Madoc 0:36 98 And death shall have no dominion read by Michael Sheen 1:58 Total time: 4:53:09 © The Trustees for the Copyrights of Dylan Thomas 8 Under Milk Wood – The Cast First Voice Richard Burton Second Voice Richard Bebb Captain Cat Hugh Griffith Rosie Probert Mary Ann Sailors Mrs Dai Bread Two Rachel Roberts Mrs Willy Nilly Mae Rose Cottage Polly Garter Diana Maddox Mr Mog Edwards Dafydd Havard Myfanwy Price Sybil Williams Mrs Ogmore-Pritchard Dilys Davies Mr Ogmore David Close-Thomas Mr Pritchard Dai Bread Ben Williams Willy Nilly Postman Butcher Beynon Meredith Edwards Gossamer Beynon Gwenllian Owen The Rev.
Load more

Recommended publications
  • Samson Agonistes Performed by Iain Glen and Cast 1 Introduction - on a Festival Day 8:55 2 Chorus 1: This, This Is He
    POETRY UNABRIDGED John Milton Samson Agonistes Performed by Iain Glen and cast 1 Introduction - On a Festival Day 8:55 2 Chorus 1: This, this is he... 3:19 3 Samson: I hear the sound of words... 2:16 4 Chorus 1: Tax not divine disposal, wisest Men... 1:45 5 Samson: That fault I take not on me... 2:03 6 Chorus 1: Thy words to my remembrance bring... 2:33 7 Manoa: Brethren and men of Dan, for such ye seem... 3:11 8 Samson: Appoint not heavenly disposition, Father... 2:56 9 Manoa: I cannot praise thy Marriage choices, Son... 3:36 10 Manoa: With cause this hope relieves thee... 4:22 11 Chorus 1: Desire of wine and all delicious drink... 4:05 12 Samson: O that torment should not be confin’d... 2:45 13 Chorus 3: Many are the sayings of the wise... 3:07 14 Chorus 3: But who is this, what thing of Sea or Land? 1:14 15 Dalila: With doubtful feet and wavering resolution... 2:05 16 Dalila: Yet hear me Samson; not that I endeavour... 6:47 17 Samson: I thought where all thy circling wiles would end... 7:32 2 18 Chorus 1: She’s gone, a manifest Serpent by her sting... 3:24 19 Samson: Fair days have oft contracted wind and rain. 0:48 20 Harapha: I come not Samson, to condole thy chance... 7:15 21 Samson: Among the Daughters of the Philistines... 3:15 22 Chorus 1: His Giantship is gone somewhat crestfall’n..
    [Show full text]
  • Celestial Toyroom 506 (Portrait)
    why and how, we shall always remember EDITORIAL them. by Alan Stevens Fiona’s eulogy for David Collings closes this issue. “Take me down to Kaldor City Where the Vocs are green Lastly, I would like to thank JL Fletcher for yet and the girls are pretty.” another breathtaking, full-colour postcard, this time themed on… the Storm Mine Yes, we’ve gone Vocing mad! murders! So buckle up for a journey into the ‘Boucherverse’, as Fiona Moore and I tackle eugenics, religion and colonialism on an unnamed planet ruled by the great god Xoanon! Fiona then takes a look behind-the-scenes of The Robots of Death and shares some fascinating production details, before treating us to a sample chapter from her up-and-coming critical monograph on the aforementioned story, by way of The Black Archive book series. Issue 506 Edited by Alan Stevens But we haven’t finished yet. Ann Worrall Cover by Andy Lambert delves into the politics, strategies, and mind- Proofreading by Ann Worrall bending questions raised by Magic Bullet’s and Fiona Moore Kaldor City audio drama series, which leads us Postcard by JL Fletcher nicely into a presentation by Sarah Egginton and myself of a complete, annotated version Published by the of the warped game of chess that took Doctor Who Appreciation Society place between the psychostrategist Carnell Layout by Nicholas Hollands and possessed robot V31 for the Kaldor All content is © City Taren Capel adventure ; the episode, relevant contributor/DWAS incidentally, that inspired artist Andy Lambert to produce this issue’s magnificent No copyright infringement is intended wrap-around cover.
    [Show full text]
  • Download Naxos Audiobooks Catalogue
    Naxos AudioBooks 2004 Ten years of innovation in audiobooks CLASSIC LITERATURE on CD and cassette AUDIOBOOKS 10TH ANNIVERSARY YEAR www.naxosaudiobooks.com THE FULL CATALOGUE AVAILABLE ONLINE News • New Releases • Features • Authors Actors • Competitions • Distributors • With selected Sound Clips LIST OF CONTENTS JUNIOR CLASSICS & CHILDREN’S FAVOURITES 2 CLASSIC FICTION & A Decade of the Classics MODERN CLASSICS 11 It was Milton’s great poem, Paradise Lost, read by the English POETRY 31 classical actor Anton Lesser that set Naxos AudioBooks on its particular journey to record the great classics of Western literature. DRAMA 35 That was 10 years ago, and since then we have recorded more than 250 titles ranging from Classic Fiction for adults and juniors; poetry, NON-FICTION 40 biographies and histories which have both scholarly and literary presence; and classic drama, dominated, of course, by HISTORIES 41 Shakespeare presented by some of the leading British actors. In addition, we have recorded selections from The Bible and great BIOGRAPHY 44 epics, such as Dante’s The Divine Comedy. And we feel that our own original texts – introductions to classical PHILOSOPHY 45 music, English literature and the theatre and biographies of famous people for younger listeners – have made a special contribution to RELIGION 46 audiobook literature. These have all been recorded to the highest standards, and COLLECTIONS 47 enhanced by the use of classical music taken from the Naxos and Marco Polo catalogues. We felt from the beginning that, generally, it HISTORICAL RECORDINGS 47 was not sufficient to have just a voice reading the text, and that, as in film, music can be used imaginatively to set the period and the BOX SETS 48 atmosphere of a story.
    [Show full text]
  • Films & Major TV Dramas Shot (In Part Or Entirely) in Wales
    Films & Major TV Dramas shot (in part or entirely) in Wales Feature films in black text TV Drama in blue text Historical Productions (before the Wales Screen Commission began) Dates refer to when the production was released / broadcast. 1935 The Phantom Light - Ffestiniog Railway and Lleyn Peninsula, Gwynedd; Holyhead, Anglesey; South Stack Gainsborough Pictures Director: Michael Powell Cast: Binnie Hale, Gordon Harker, Donald Calthrop 1938 The Citadel - Abertillery, Blaenau Gwent; Monmouthshire Metro-Goldwyn-Mayer British Studios Director: King Vidor Cast: Robert Donat, Rosalind Russell, Ralph Richardson 1940 The Thief of Bagdad - Freshwater West, Pembrokeshire (Abu & Djinn on the beach) Directors: Ludwig Berger, Michael Powell The Proud Valley – Neath Port Talbot; Rhondda Valley, Rhondda Cynon Taff Director: Pen Tennyson Cast: Paul Robeson, Edward Chapman 1943 Nine Men - Margam Sands, Neath, Neath Port Talbot Ealing Studios Director: Harry Watt Cast: Jack Lambert, Grant Sutherland, Gordon Jackson 1953 The Red Beret – Trawsfynydd, Gwynedd Director: Terence Young Cast: Alan Ladd, Leo Genn, Susan Stephen 1956 Moby Dick - Ceibwr Bay, Fishguard, Pembrokeshire Director: John Huston Cast: Gregory Peck, Richard Basehart 1958 The Inn of the Sixth Happiness – Snowdonia National Park, Portmeirion, Beddgelert, Capel Curig, Cwm Bychan, Lake Ogwen, Llanbedr, Morfa Bychan Cast: Ingrid Bergman, Robert Donat, Curd Jürgens 1959 Tiger Bay - Newport; Cardiff; Tal-y-bont, Cardigan The Rank Organisation / Independent Artists Director: J. Lee Thompson Cast:
    [Show full text]
  • Job Description
    Job Description Job title: Assistant Producer Reporting to: Managing Director, Theatre Royal Bath Productions Principal duties: To work with the Managing Director to develop and manage theatre production projects. In particular: 1. To research potential theatre production projects. 2. To liaise with agents about the availability/likely interest of their clients in theatre production projects. 3. To work with the General Manager on all physical aspects of theatre production. 4. To work alongside and manage freelance production staff i.e. company manager and casting directors. 5. To liaise with other producers and theatre managements. 6. To create co-production agreements with other theatre managements. 7. To negotiate deals with agents for the services of actors, understudies, directors, lighting designers, sound designers and other members of creative teams. 8. To draft contracts for the services of the above. 9. To negotiate rights agreements with literary agents. 10. To create and monitor budgets for theatrical productions. 11. To attend first days of rehearsals, run-throughs, previews and press nights and liaise as necessary with directors. 12. To create and maintain the creative team fee/royalties database. 13. To liaise with marketing and press consultants. 14. To process venue contracts. Assistant Producer - Person Specification Skills Essential . Computer literate - Microsoft Word & Excel packages . Accurate typing . Good telephone manner . Excellent communicator – written & oral Experience Essential Experience of working in an organisation with a team environment Desirable . Experience of working in an arts organisation Personal Qualities Essential . Organisational flair with the ability to prioritise workloads . Calm, patient and prepared to work for others . Ability to work swiftly and under pressure .
    [Show full text]
  • 2 the Wales Report with Huw Edwards 3 Vicar Academy 4 Welsh Greats: Philip Madoc 5 Pobol Y Cwm
    Week/Wythnos 45 November/Tachwedd 3-9, 2012 Pages/Tudalennau: 2 The Wales Report with Huw Edwards 3 Vicar Academy 4 Welsh Greats: Philip Madoc 5 Pobol y Cwm Places of interest: Brecon 3 Cardiff 3 Carmarthen 2 Ceredigion 2 Dinefwr 2 Merthyr 4 Swansea 3 Follow us on Twitter to keep up with all the latest news from BBC Cymru Wales - @BBCWalesPress Pictures are available at www.bbcpictures.com / Lluniau ar gael yn www.bbcpictures.com NOTE TO EDITORS: All details correct at time of going to press, but programmes are liable to change. Please check with BBC Cymru Wales Communications before publishing. NODYN I OLYGYDDION: Mae’r manylion hyn yn gywir wrth fynd i’r wasg, ond mae rhaglenni yn gallu newid. Cyn cyhoeddi gwybodaeth, cysylltwch â’r Adran Gyfathrebu. THE WALES REPORT WITH HUW EDWARDS Sunday, November 4, BBC One Wales, 10.25pm A few days before voters across the United States go to the polls in the Presidential Election, Huw Edwards presents The Wales Report from across the Atlantic. “I hope to visit the key swing state of Ohio,” said Huw Edwards, “and talk to some voters there in one of the communities originally settled by the Welsh from Ceredigion.” Huw will be in the United States as one of the US Election team for BBC News, presenting and reporting for news programmes on BBC One and the BBC News Channel. Adam Price - the former Plaid Cymru MP for Carmarthen East and Dinefwr who swapped politics for academia at Harvard - will also offer a personal view on the differences between elections in Wales and America.
    [Show full text]
  • Television for Women: Generation, Gender and the Everyday
    Television for Women: Generation, Gender and the Everyday Study submitted in part fulfilment of the requirement for the award of PhD Hazel Collie March, 2014 To be awarded by De Montfort University, and undertaken in collaboration with the University of Warwick. Sponsored by the Arts and Humanities Research Council 1 Declaration I declare that this is my own, original work and that all sources used have been cited. Name: Hazel Collie Signed: Date: 2 Abstract This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with popular culture, but which has not theorised those relationships (Press, 1991; Moseley, 2002). The shifts and, indeed, continuities in the lives of different generations of British women are considered to gain a sense of the importance of generation in the production of identity. Significant differences arose between generations in terms of reflexivity and around questions of quality, value and taste as generations intersected with feminist and neoliberal cultures at different life stages. What was particularly interesting, however, was that despite the dramatic social change wrought by this post-war period, the narratives of women of different generations were surprisingly similar in terms of their everyday lives.
    [Show full text]
  • Heritage Plaques, Statues & Plinths
    Merthyr Tydfil Heritage Regeneration Trust Heritage Plaques, Statues & Plinths - People Compiled by Keith L. Lewis-Jones ©2010-2019 Keith L. Lewis-Jones Listed Building information kindly supplied by CADW © Scheduled Ancient Monuments information kindly supplied by The Royal Commission on the Ancient Monuments of Wales – RCAHMW © Laura Ashley Plaque sited at 31 Station Terrace, Dowlais. CF48 3PU Laura Ashley, the fashion designer, was born, Laura Mountney, in 31 Station Terrace, Dowlais in 1925. The Laura Ashley Company was started by Laura & her husband Bernard in a London flat in 1953. It started with tea towels and scarves in their own distinctive style. When the company was floated in November 1985, two months after Laura Ashley’s sudden death, it had become an international group with 219 shops worldwide ©2010-2019 Keith L. Lewis-Jones Listed Building information kindly supplied by CADW © Scheduled Ancient Monuments information kindly supplied by The Royal Commission on the Ancient Monuments of Wales – RCAHMW © The Berry Brothers All born in Merthyr Tydfil to solicitor John Mathias Berry and his wife Mary Ann Rowe Henry Seymour Berry - Lord Buckland of Bwlch Statue sited at the front of Merthyr Tydfil Central Library. CF47 8AF Henry Seymour Berry (1877-1928) acquired substantial holdings in steel, coal, transport, printing, and shipping. He was made a Freeman of the Borough in 1923 and became Baron Buckland of Bwlch in 1926 Statue & plinth - Grade II Listed History Erected 1931. Designed by W. Goscombe John RA. Description Standing, black-painted, bronze figure in full robes with cocked hat in crook of left arm; parchment grasped in right hand.
    [Show full text]
  • Anatomy of a Gamechanger : BBC Radio 4'S Life and Fate
    Anatomy of a gamechanger : BBC Radio 4’s Life and Fate McMurtry, LG Title Anatomy of a gamechanger : BBC Radio 4’s Life and Fate Authors McMurtry, LG Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/44293/ Published Date 2012 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Ano III, Num 02 Edição Julho – Agosto 2012 ISSN: 2179-6033 http://radioleituras.wordpress.com Anatomy of a Gamechanger: BBC Radio 4’s Life and Fate Leslie McMurtry 1 “Afternoon plays on Radio 4 get two million listeners in one hearing, on average, while a novel is lucky to sell 10,000 copies. Next week’s experiment has the potential to change dramatically the literary stature of Vasily Grossman, and our understanding of the realities of Soviet Russia.” Kate Chisholm, 2011, p. 62 The challenge, historian David Hendy has said of radio in the 21 st century, is to balance “radio’s ubiquity and simplicity . with something more fitting for a national 67 institution dedicated to cultural leadership” (HENDY, 2007, p.142). This crucial balance says much about the audience expected of radio on the BBC and underlines some reasons why Radio 4, as steered by Head of Drama Alison Hindell, would have initiated the adaptation of Vasily Grossman’s novel Life and Fate, a goal realised in 2011 .
    [Show full text]
  • Arguing the Case for Welsh Crime Fiction
    [Dis]solving Genres: Arguing the case for Welsh Crime Fiction Catherine Phelps B.A. Hons (University of Glamorgan), M.A. (Cardiff University) A Thesis Submitted in Candidature for the Degree of Doctor of Philosophy Cardiff University 2013 Table of Contents Summary i Acknowledgements ii Introduction……………………………………………………………………….................1 Chapter I: The English Imperial Thriller…………………………………………………18 Chapter II: The Emergence of Welsh Crime Fiction…………………………………….53 Chapter III: Socialist Crime Fiction……………………………………………………….91 Chapter IV: Men and Crime……………………………………………………………...122 Chapter V: Women and Crime…………………………………………………………...156 Conclusion………………………………………………………………………………….192 Bibliography……………………………………………………………………………….195 i Summary Walter Benjamin’s suggestion that great literary works not only add to canonical literature but also ‘dissolve’ genres may not seem apt in an examination of crime fiction, a genre noted for its rigidity and structured form. Though much of this mass-marketed, populist fiction cannot be perceived as great literature, nonetheless, some do work to dissolve genres, to re- shape them to different ends. This is especially true of Welsh crime fiction written in English. This thesis posits that there is a wealth of undiscovered Welsh crime fiction written in English and that those neglected works are necessary to the study of both crime fiction and Welsh writing in English. Central to this argument is my assertion that Welsh crime fiction (as it will henceforth be referred as) is a separate genre that contains its own specific tropes and paradigms, markers that are indicative of a certain Welsh cultural identity. As this study also acts as a survey of a previously unexamined area, of necessity, the works under question are the product of a extensive period: from the late-nineteenth century to the present day.
    [Show full text]
  • Media Meltdown
    Editor John Osmond Assistant Editor Nick Morris Associate Editors Geraint Talfan Davies Rhys David spring 2008 Administration Helen Sims-Coomber and Clare Johnson Design WOOD&WOOD Design Consultants. wood2.com To advertise Telephone 029 2066 6606 media meltdown TV Wales is celebrating fifty years of broadcasting during 2008. In that time the Welsh franchise has gone through several permutations. First to hold it was TWW, Television Wales and the West. A decade later Harlech Television won control, later Institute of Welsh Affairs i 1–3 Museum Place becoming HTV Wales and the West. In 1997 HTV was taken over by United News and Cardiff Media which subsequently became part of Carlton in 2000. ITV Wales is now part of a CF10 3BD merged ITV, which owns all the ITV franchises in England and Wales. Driven by Telephone 029 2066 6606 commercialisation, each stage has seen a process of centralisation in which the distinctive E-mail [email protected] dimension of Welsh broadcasting has been eroded and diminished. How far can the Web www.iwa.org.uk process go before we see an end to any autonomous Welsh presence within commercial The IWA is a non-aligned broadcasting? independent think-tank and research institute, based in Cardiff with branches in north The question is important on a number of fronts. In purely economic terms ITV Wales and west Wales, Gwent, contributes more than £12 million of disposable income into the local economy and Swansea Bay and London. supports the equivalent of more than 670 jobs, according to a study carried out by the Members (annual subscription £40) receive agenda three times Welsh Economic Research Unit at Cardiff Business School in 2002.
    [Show full text]
  • BBC Radio 4'S Life and Fate
    Ano III, Num 02 Edição Julho – Agosto 2012 ISSN: 2179-6033 http://radioleituras.wordpress.com Anatomy of a Gamechanger: BBC Radio 4’s Life and Fate Leslie McMurtry 1 “Afternoon plays on Radio 4 get two million listeners in one hearing, on average, while a novel is lucky to sell 10,000 copies. Next week’s experiment has the potential to change dramatically the literary stature of Vasily Grossman, and our understanding of the realities of Soviet Russia.” Kate Chisholm, 2011, p. 62 The challenge, historian David Hendy has said of radio in the 21 st century, is to balance “radio’s ubiquity and simplicity . with something more fitting for a national 67 institution dedicated to cultural leadership” (HENDY, 2007, p.142). This crucial balance says much about the audience expected of radio on the BBC and underlines some reasons why Radio 4, as steered by Head of Drama Alison Hindell, would have initiated the adaptation of Vasily Grossman’s novel Life and Fate, a goal realised in 2011 . Before the broadcast, few people in the UK would have heard of Life and Fate . Even among Russian specialists, the book did not have a high profile. Post-broadcast, Random House printed in excess of 13,000 copies just to keep up with demand. The book topped the charts on Amazon.com, and downloadable versions of the play topped iTunes broadcasts. Journalist Pete Naughton identified the key tenets of Life and Fate ’s success as its being “mind-expanding drama,” well-adapted, with a “big- name cast” (NAUGHTON, 2011). I would argue that Life and Fate has made a clear transition from semi-obscure Russian novel into this nexus of radio simplicity and the 1 Leslie McMurtry is currently a PhD candidate in English/radio drama at Swansea University in Wales.
    [Show full text]