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Caribbean Theatre: a PostColonial Story
CARIBBEAN THEATRE: A POSTCOLONIAL STORY Edward Baugh I am going to speak about Caribbean theatre and drama in English, which are also called West Indian theatre and West Indian drama. The story is one of how theatre in the English‐speaking Caribbean developed out of a colonial situation, to cater more and more relevantly to native Caribbean society, and how that change of focus inevitably brought with it the writing of plays that address Caribbean concerns, and do that so well that they can command admiring attention from audiences outside the Caribbean. I shall begin by taking up Ms [Chihoko] Matsuda’s suggestion that I say something about my own involvement in theatre, which happened a long time ago. It occurs to me now that my story may help to illustrate how Caribbean theatre has changed over the years and, in the process, involved the emergence of Caribbean drama. Theatre was my hobby from early, and I was actively involved in it from the mid‐Nineteen Fifties until the early Nineteen Seventies. It was never likely to be more than a hobby. There has never been a professional theatre in the Caribbean, from which one could make a living, so the thought never entered my mind. And when I stopped being actively involved in theatre, forty years ago, it was because the demands of my job, coinciding with the demands of raising a family, severely curtailed the time I had for stage work, especially for rehearsals. When I was actively involved in theatre, it was mainly as an actor, although I also did some Baugh playing Polonius in Hamlet (1967) ― 3 ― directing. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
John Gassner
John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era. -
Black British Plays Post World War II -1970S by Professor Colin
Black British Plays Post World War II -1970s By Professor Colin Chambers Britain’s postwar decline as an imperial power was accompanied by an invited but unprecedented influx of peoples from the colonized countries who found the ‘Mother Country’ less than welcoming and far from the image which had featured in their upbringing and expectation. For those who joined the small but growing black theatre community in Britain, the struggle to create space for, and to voice, their own aspirations and views of themselves and the world was symptomatic of a wider struggle for national independence and dignified personal survival. While radio provided a haven, exploiting the fact that the black body was hidden from view, and amateur or semi-professional club theatres, such as Unity or Bolton’s, offered a few openings, access to the professional stage was severely restricted, as it was to television and film. The African-American presence in successful West End productions such as Anna Lucasta provided inspiration, but also caused frustration when jobs went to Americans. Inexperience was a major issue - opportunities were scarce and roles often demeaning. Following the demise of Robert Adams’s wartime Negro Repertory Theatre, several attempts were made over the next three decades to rectify the situation in a desire to learn and practice the craft. The first postwar steps were taken during the 1948 run of Anna Lucasta when the existence of a group of black British understudies allowed them time to work together. Heeding a call from the multi-talented Trinidadian Edric Connor, they formed the Negro Theatre Company to mount their own productions and try-outs, such as the programme of variety and dramatic items called Something Different directed by Pauline Henriques. -
Introduction
Notes Introduction 1. Current feminist theatre scholarship tends to use the term ‘heteronormative’. The predominant use of the term ‘heterosexist’ in this study draws directly from black lesbian feminist Audre Lorde’s notion of ‘Heterosexism [as] the belief in the inherent superiority of one pattern of loving and thereby its right to dominance’ (Lorde, 1984, p. 45). 2. See Diana Fuss, Essentially Speaking: Feminism, Nature and Difference (London: Routledge, 1989) for summaries and discussions of the essen- tialism/constructionism debates. 3. See, for example, Elaine Aston, An Introduction to Feminism and Theatre (London: Routledge, 1995); Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: CUP, 2003); Mary F. Brewer, Race, Sex and Gender in Contemporary Women’s Theatre: The Construction of ‘Woman’ (Brighton: Sussex Academic Press, 1999); Lizbeth Goodman, Contemporary Feminist Theatres: To Each Her Own (London: Routledge, 1993); and Gabriele Griffin Contemporary Black and Asian Women Playwrights in Britain (Cambridge: CUP, 2003). 4. See, for example, Susan Croft, ‘Black Women Playwrights in Britain’ in Trevor R. Griffiths and Margaret Llewellyn Jones, eds, British and Irish Women Dram- atists Since 1968 (Buckingham: OUP, 1993); Mary Karen Dahl, ‘Postcolonial British Theatre: Black Voices at the Center’ in J. Ellen Gainor, ed., Imperi- alism and Theatre: Essays on World Theatre, Drama and Performance (London: Routledge, 1995); Sandra Freeman, Putting Your Daughters on the Stage: Lesbian Theatre from -
TPTV Schedule June 3Rd - 9Th 2019
TPTV Schedule June 3rd - 9th 2019 Date Time Programme Synopsis 1964. Drama. Directed By Montgomery Tully. Starring Stephen Murray. A Russian scientist working for the British is suspected of Mon 03 being a 'plant', sent to monitor nuclear secrets for the Jun 19 6:00 Master Spy Communists. (SUBTITLES AVAILABLE) Surprise Party. Stars: June Allyson, Myrna Loy, Shepperd Mon 03 Strudwick. A New Yorker is delayed on her way home by an ardent Jun 19 7:25 June Allyson old-flame. 1962. Comedy. Directed by Ken Annakin. Stars Leslie Phillips, Mon 03 Stanley Baxter & Wilfrid Hyde-White. Petty thief, Dandy Forsdyke, Jun 19 7:55 Crooks Anonymous joins an unofficial organisation for reforming criminals. 1953. Crime. Director: Wolf Rilla. Stars: Dennis Price, Rona Anderson & Ronald Howard. A woman has been sentenced to Mon 03 death by hanging. Her cousin works against time to prove her Jun 19 9:40 Noose for a Lady innocent. Haymarket Theatre Royal. Ian McKellen, Steven Berkoff and Mon 03 Great West End Martin Shaw are among the famous faces sharing their memories Jun 19 11:10 Theatres of the Theatre Royal Haymarket. Donald Sinden presents. 1962. Drama. Directed by Clive Donner. Starring Kenneth More, Ray Brooks, Anneke Wills and David Hemmings.The story of three Mon 03 teenaged tearaways who find themselves at odds with society Jun 19 12:10 Some People (SUBTITLES AVAILABLE) Rumpole and the Golden Thread. Stars: Leo McKern, Peggy Mon 03 Rumpole of the Thorpe-Bates & Errol John. Rumpole agrees to defend a cabinet Jun 19 14:00 Bailey minister of a former British African colony accused of murder. -
Boxoffice Barometer (March 26, 1962)
“KING OF KINGS” (70mm Super Technirama Technicolor) Jeffrey Hunter, Siobhan McKenna, Hurt Hatfield, Ron Randell, Viveca Lindfors, Rita Gam, Carmen Sevilla, Brigid Bazlen, Harry Guardino, Rip Torn, Frank Thring, Guy Rolfe, with Maurice Marsac, Gregoire Aslan and Robert Ryan as John the Baptist, with thousands of extras. Presenting an epic story of the life and times of Jesus Christ. A Samuel Bronston Production. “THE FOUR HORSEMEN OF THE APOCALYPSE” ( CinemaScope-Color) Glenn Ford, Ingrid Thulin, Charles Boyer, Lee J. Cobb, Paul Henreid, Paul Lukas, Yvette Mimieux, Karl Boehm. Film ver- sion of the famed Vicente Blasco-Ibanez novel. A Julian Blaustein Production. V f “SWEET BIRD OF YOUTH” ( CinemaScope-Metrocolor) Paul Newman, Geraldine Page, Shirley Knight, Ed Begley, Rip Torn, Mildred “THE HORIZONTAL LIEUTENANT” Dunnock, Madeleine ( CinemaScope- Metrocolor) Sherwood. Film version of Jim Hutton, Paula Prentiss, Jack Carter, Jim the Tennessee Williams Backus, Charles McGraw, Myoshi Umeki. Comedy Broadway stage success. of a U.S. military “clean up” operation on a An Avon Production. Pacific island. A Euterpe Production. ' THROUGH IN 62 ! “MUTINY ON THE BOUNTY” ( Ultra Panavision- Metrocolor) Marlon Brando, Trevor Howard, Richard Harris, Hugh Griffith, Richard Hayden and Tarita. Spectacular sea adventure drama, based on trilogy of novels by Charles Nordoff and James Norman Hall. Filmed in the South Seas and on a replica of the great three masted sailing ship, HMS Bounty. An Areola Pictures Production. “A VERY PRIVATE AFFAIR” {Color) Brigitte Bardot and Marcello Mastroianni. Story of a French girl who achieves fame as a screen star. A Progefi- Cipra Production. “ALL FALL DOWN” Lva Marie Saint, Warren Beatty, Karl dalden, Lansbury, ! Angela Brandon deWilde. -
Programmer for the London Lesbian and Gay Film Festival and Is Currently Artistic Director of the Red Room Theatre and Film Company
exploring the canon What makes a play a classic? Wednesday 9 February 2011 exploring 11am – 5.30pm the canon is a day of performance readings looking beyond the usual suspects to widen the repertoire of British Theatre The Artistic Directors from The London Hub of Sustained Theatre want to look beyond the plays that are generally regarded as classics to champion plays that they think should be accorded canonical status . Theatre directors; Mukul Ahmed, Katharine Armitage, Renu Arora, Topher Campbell, Tunde Euba, Simeilia Hodge-Dallaway, Trilby James, and Josephine Melville have worked closely with Artistic Directors from Arcola Theatre, ATC, Collective Artistes, Kali Theatre Company, Talawa Theatre Company, Tamasha, Tara and The Red Room to direct a series of extracts from diverse plays that are often neglected for revival in the national theatre landscape. The plays: Moon on a Rainbow Shawl by Errol John, directed by Simeilia Hodge-Dallaway Borderline by Hanif Kureishi, directed by Mukul Ahmed Death and the King’s Horseman by Wole Soyinka, directed by Tunde Euba The House of Bilquis Bibi by Sudha Bhuchar, directed by Renu Arora To Rahtid by Sol B. River, directed by Topher Campbell Calcutta Kosher by Shelley Silas, directed by Trilby James Alterations by Michael Abbensetts, directed by Josephine Melville Wedding Band: A Love/Hate Story in Black and White by Alice Childress, directed by Katharine Armitage exploring Wednesday 9 February 2011 the canon ATC presents: Moon on a Rainbow Shawl by Errol John Directed by: Simeilia Hodge-Dallaway Artistic Director: Ramin Gray Synopsis Holder, Dystin Johnson, James Earls Jones Ramin Gray and Cicely Tyson who have all starred in Errol John's Moon on a Rainbow Shawl is After directing, pervious productions. -
The Great Chinese Takeaway’: the Strange Case of Absent Orientalism in Contemporary British Playwriting
‘The great Chinese takeaway’: the strange case of absent Orientalism in contemporary British playwriting Book or Report Section Accepted Version Saunders, G. (2010) ‘The great Chinese takeaway’: the strange case of absent Orientalism in contemporary British playwriting. In: Huber, W., Rubik, M. and Novak, J. (eds.) Staging interculturality: contemporary drama in English. Wissenschaftlicher Verlag Trier, Germany, pp. 65-74. ISBN 9783868212327 Available at http://centaur.reading.ac.uk/17841/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Wissenschaftlicher Verlag Trier All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ‘The Great Chinese Takeaway’: The Strange Case of Absent Orientalism in Contemporary British Playwriting. This article is one with modest ambitions. It began with the intention of bringing to light an existing narrative that few had heard. However, I now believe that the narrative has yet to be created because it barely exists. As such, this article has become more a series of preliminary observations that seek to draw attention to a peculiar absence – an absence that runs silently yet troublingly throughout the now familiar historical narratives of post- war British theatre. There is a general consensus that the real achievement of the new drama after 1956 was to give voice to disenfranchised groups: from the working-class voices that emerged in the 1950s and 1960s to the feminist and queer voices of the 1970s and 1980s, the often- declared project was to challenge the mono-cultural view of British life. -
Black and Asian Theatre in Britain
Black and Asian Theatre in Britain ‘An important and long overdue book on the huge contribution that Black and Asian artists have made and continue to make to Britain’s theatrical landscape.’ – Meera Syal Black and Asian Theatre in Britain is an unprecedented study tracing the history of ‘the Other’ through the ages in British theatre. The diverse and often contradictory aspects of this history are expertly drawn together to provide a detailed background to the work of African, Asian, and Caribbean diasporic companies and practitioners. Colin Chambers examines early forms of blackface and other representations in the sixteenth century, through to the emergence of black and Asian actors, companies, and theatre groups in their own right. Thorough analysis uncovers how they led to a flourishing of black and Asian voices in theatre at the turn of the twentyfirst century. Figures and companies studied include: • Ira Aldridge • Indian Art and Dramatic Society • Henry Francis Downing • Temba • Paul Robeson • Edric and Pearl Connor • Errol John • Tara Arts • Mustapha Matura • Yvonne Brewster • Dark and Light Theatre • Tamasha • The Keskidee Centre • Talawa. Black and Asian Theatre in Britain is an enlightening and immensely readable resource and represents a major new study of theatre history and British history as a whole. Colin Chambers was Kingston University’s first Professor of Drama. Formerly a journalist and theatre critic, he was Literary Manager of the Royal Shakespeare Company from 1981 to 1997. His books include The Story of Unity Theatre (1989), the awardwinning biography Peggy: The Life of Margaret Ramsay, Play Agent (1997), The Continuum Companion to Twentieth Century Theatre (editor, 2002), Inside the Royal Shakespeare Company (2004) and Here We Stand (2006). -
"There'll Always Be an England": Representations Of
"There'll Always Be an England": Representations of Colonial Wars and Immigration, 1948- 1968 Author(s): Wendy Webster Reviewed work(s): Source: Journal of British Studies, Vol. 40, No. 4, At Home in the Empire (Oct., 2001), pp. 557-584 Published by: The University of Chicago Press on behalf of The North American Conference on British Studies Stable URL: http://www.jstor.org/stable/3070747 . Accessed: 20/03/2012 18:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and The North American Conference on British Studies are collaborating with JSTOR to digitize, preserve and extend access to Journal of British Studies. http://www.jstor.org "There'll Always Be an England": Representationsof Colonial Wars and Immigration,1948-1968 Wendy Webster "In Malaya,"the Daily Mail noted in 1953, "threeand a half years of dangerhave given the planterstime to converttheir previously pleas- ant homes into miniaturefortresses, with sandbagparapets, wire entan- glements, and searchlights." The image of the home as fortressand a juxtapositionof the domestic with menace and terrorwere central to British media representationsof colonial wars in Malaya and Kenya in the 1950s. The repertoireof imagerydeployed in the Daily Mail for the "miniaturefortress" in Malayawas extendedto Kenya,where the news- papernoted wire over domesticwindows, guns beside wine glasses, the charminghostess in her black silk dress with "an automaticpistol hang- ing at her hip." Such images of English domesticitythreatened by an alien other were also centralto immigrationdiscourse in the 1950s and 1960s. -
Researching Race, Black British Theatre Histories, Plays and Performances PROFESSOR LYNETTE GODDARD ROYAL HOLLOWAY, UNIVERSITY of LONDON Introduction
Researching Race, Black British Theatre Histories, Plays and Performances PROFESSOR LYNETTE GODDARD ROYAL HOLLOWAY, UNIVERSITY OF LONDON Introduction . My journey into an academic career - only Black womxn in UK Drama University Teaching; now only Black Womxn (non-binary) Professor . Progressing Career through publishing - Main single-authored book projects on Black identity and Theatre . Current projects on race and theatre and Black theatre history of directors . Navigating career challenges My Journey into an academic career . Leaving comprehensive school in Brent - few qualifications, few CSEs and CEE grade 1 English, got two O Levels at college; really came from no qualifications, no idea about career prospects; drama at school not very involved. Supermarket job – Safeways - 80s television starting to show showing good prospects for Black actors – e.g. Black family Tony and Kelvin Carpenter Eastenders, British working class and second generation accents, Desmond’s at the end of the 80s. Acting seemed like a job in which good money could be earned. Decided randomly on a career in Drama . Civil Service, British Telecom (BT), while starting drama short courses and joined youth theatres – Royal Court, Tricycle . Professional Career as Stage Manager for a few years – Backstage work for Black theatre touring companies – Black Mime, Black Theatre Coop and on Black plays with the Royal Court Youth Theatre and at Tricycle Theatre in Kilburn. Return to Education to Study Undergraduate Degree in Drama . Second year of course realization of doing a PhD – director’s course lack of study of Black work, all white directors, no Black plays; started to put race and gender into everything that I was writing about as an UG.