DOCSLIB.ORG

London Cultural Capital Realising the Potential of a World– Class City Main Doc Cover 1 21/4/04 3:02 Pm Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
London Cultural Capital Realising the Potential of a World– Class City Main Doc Cover 1 21/4/04 3:02 Pm Page 2 Main Doc Cover 2 21/4/04 3:05 pm Page 2 London Cultural Capital Realising the potential of a world– class city Main Doc Cover 1 21/4/04 3:02 pm Page 2 City Hall The Queen’s Walk London SE1 2AA www.london.gov.uk Enquiries: 020 7983 4100 Minicom: 020 7983 4458 GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 1 London The Mayor’s Cultural Capital Culture Strategy April 2004 London — Title Page 3 Cultural Capital GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 2 © Greater London Authority, April 2004 Published by Greater London Authority City Hall The Queen’s Walk London SE1 2AA Enquiries 020 7983 4100 Minicom 020 7983 4458 www.london.gov.uk ISBN 1 85261 611 3 Copies of the Highlights document and further copies of this Strategy are available from www.london.gov.uk or by calling 20 7983 4100 (a limited number of printed copies of the full document are available at a cost of £25). This document is printed on 75 per cent recycled paper, 25 per cent from sustainable forest management © Crown copyright material is reproduced with the permission of the Controller of HMSO and the Queen's Printer for Scotland. The Photographers’ Gallery GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 3 Other formats and languages For a large print, Braille, disc, sign You will need to supply language video or audio-tape your name, your postal version of this document, please address and state the contact us at the address below: format and title of the publication you require. Public Liaison Unit Greater London Authority If you would like a summary City Hall, The Queen’s Walk of this document in your London SE1 2AA language, please phone the Telephone 020 7983 4100 number or contact us at the Minicom 020 7983 4458 address above. www.london.gov.uk Chinese Urdu Arabic Vietnamese Greek Áí èá èÝëáôå Ýíá áíôßãñáöï ôïõ Turkish ðáñüíôïò åããñÜöïõ óôç ãëþóóá óáò, ðáñáêáëþ íá ôçëåöùíÞóåôå Bu brosr Trke olarak edinmek óôïí áñéèìü Þ íá åðéêïéíùíÞóåôå iin ltfen asagidaki numaraya óôçí ðáñáêÜôù äéåýèõíóç. telefon edin ya da adrese basvurun. Hindi Punjabi Bengali Gujarati GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 4 11 Foreword 120 Chapter Five: Access – physical and spatial 16 Executive Summary 120 Introduction 120 Planning the Cultural Infrastructure 26 Chapter One: Introduction 120 Levels of provision 26 The Mayor’s Vision for Culture 135 Transport 27 Operating Context 139 Cultural Quarters and Culture-led 27 A culture strategy for London Regeneration 31 Defining culture 142 Neighbourhood renewal 35 Social, economic and environmental 146 The Public Realm context 146 Public spaces 39 Summary of the Mayor’s Vision, 149 The built environment Objectives and Policies 151 Green spaces and waterways 42 Chapter 2: Excellence 158 Chapter Six: Value 42 Introduction 158 Introduction 43 A World Class Cultural Offer 158 Resources for London’s Cultural Life 43 World-class institutions 158 The economic value of culture 49 World class events 166 London’s creative and cultural 51 The Olympic and Paralympic Games workforce 55 The Diversity of London’s 173 Culture’s evidence base Cultural Offer 174 The Best Deal for London 56 Capacity building 174 London and the regions 57 Raising the profile 176 London’s strategic cultural agencies 59 A World Class Destination 179 A single voice for culture 59 The evening, late-night and weekend economy in London 184 Chapter Seven: Delivery in context 67 Tourism 184 Introduction 184 Delivering the Mayor’s Culture 74 Chapter Three: Creativity Strategy 74 Introduction 186 Strategies for Sustainable Growth 74 The Creative Industries 186 The Mayor’s statutory strategies 74 Characteristics of the creative 190 Cross cutting themes industries 192 Working in partnership 80 Supporting creativity 83 Creative industry sectors 198 Action Plan 87 Developing Creative Skills and Talent 87 Formal education 236 Footnotes 93 Lifelong learning 242 London: Cultural Capital Commissions 98 Chapter Four: Access – social 98 Introduction 244 Appendix A: Acronyms 99 Widening Access 99 Barriers to participation 245 Appendix B: Glossary 105 Increasing access 111 Social Inclusion 250 Appendix C: Bibliography 112 Local provision 113 Community cohesion and empowerment 116 Health and well-being 117 Community safety GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 5 Tables & illustrations Chapter 5 5.1 Spread of performing arts venues 122 Chapter 1 in London 1.1. Culture in London 32 5.2 Geographic penetration of London 128 1.2. What Londoners think 34 audiences 1.3. London’s diverse communities 35 5.3 Transport facts and figures 134 1.4. Proportion of average weekly household 36 5.4 Creative industries employee numbers 140 expenditure on selected spending categories by borough, 2000 1.5 Leisure services in the UK 37 5.5 Visitors to Parks and Open Spaces 147 5.6 Strategic open spaces in London and the 154 Chapter 2 Blue Ribbon Network 2.1 World-class London 42 2.2 The Olympic and Paralympic Games how 52 Chapter 6 host cities have benefited 6.1 Institutions funded by the DCMS 162 2.3 Density of employment in London’s 62 6.2 Overview of annual cultural funding 162 ‘evening economy’ in London by source 2.4 The entertainment sector in the West End 63 6.3 Overview of annual cultural funding 163 2.5 Number of people leaving Leicester Square 65 in London by sector Underground station on a Saturday 6.4 Distribution of lottery funds in the UK 164 2.6 Culture and tourism 68 by value 2.7 Estimated overseas visits to London 68 6.5 Distribution of lottery funds in the UK by 164 attractions 2002 number of awards 2.8 International comparisons 71 6.6 Culture funding within London by 165 borough Chapter 3 6.7 Lottery funding for culture within London 166 3.1. Sub-sectors of the creative industries 75 6.8 Regional indices of earnings in cultural 169 3.2. Creative industries’ average annual output 75 occupations per head of population: London and UK, 6.9 Diversity in the cultural and creative 172 1995–2000 industries 3.3. What UK creative industries account for 76 6.10 London and the regions 175 3.4. Extent of the creative industries based or 76 generated in London Chapter 7 3.5 Comparison of growth rates 84 7.1 The Mayor’s role in delivery 186 3.6. London’s film sector 85 3.7. Cinema in London 86 3.8 Children’s engagement with the 88 cultural sector 3.9 Higher Education and culture 89 Chapter 4 4.1 Participation rates 98 4.2 The demography of cultural participation 100 4.3 London ticket yield 104 4.4 Changes to figures for visitors to London’s 105 museums since free entry re-introduced 4.5 Comments on the value of culture 112 4.6 Volunteering 115 Use of terms In writing this document, material from a wide range of sources has been reproduced or referred to: as a result some terminology may appear inconsistent with GLA usage. London — Contents 6 — 7 Cultural Capital GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 6 London — breathtaking, vital, memorable. A city of extraordinary choice, known worldwide for the richness, breadth and diversity of its cultural and creative resources. It is what many of us enjoy most about living and working here. Our theatres, cinemas and sports facilities make the city an exhilarating place to live in. Our museums, GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 7 galleries, historic and contemporary buildings, parks, the Thames and London’s nightlife stimulate our senses and enhance our quality of life. And London is home to more artists, creatives and top-flight teams and sportspeople than any other city in the UK. London — Foreword 8 — 9 Cultural Capital Ken Livingstone GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 8 Stephen Gill Gallery Warder #1 2003 GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 9 London’s cultural and creative sector is Indeed I have already developed a a major economic force, providing more programme of cultural activity in than 500,000 jobs and second only to partnership with cultural organisations financial services in the wealth it creates: in London and will continue to dedicate it is the UK’s central focus for this most resources for the implementation of this dynamic and rapidly growing sector of the Culture Strategy. I will also make sure economy. The city’s cultural attractions that in carrying out my responsibilities are a primary driver of tourism, both from for planning, transport, policing and within the UK and from overseas. The economic development, I will deliver majority of overseas tourists make London the best deal for culture. But London their first–or even only–port of call. also needs to develop a body with a strong voice that will lobby, advocate London is changing rapidly. It is growing and promote our cultural assets. A key fast and becoming more prosperous, but proposal in the Culture Strategy is the these trends sit side by side with social establishment of the Cultural Strategy injustice. Far too many of London’s Group as a London Cultural Consortium. citizens are socially excluded and poorly represented. Culture and creativity have a I would like to thank all the artists, unique potential to address some of these consultants and organisations who have difficult social issues.
Load more

Recommended publications
  • London and Middlesex in the 1660S Introduction: the Early Modern
    London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian.
    [Show full text]
  • What Ever Happened to In-Yer-Face Theatre?
    What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk.
    [Show full text]
  • Employment & Regeneration in LB Enfield
    Employment & Regeneration in LB Enfield September 2015 DRAFT 1 Introduction • LB Enfield and Enfield Transport Users Group (ETUG) have produced a report suggesting some large scale alterations to the bus network. One of the objectives of the report is to meet the demands of the borough’s housing and regeneration aspirations. • TfL have already completed a study of access to health services owing to a re-configuration of services between Chase Farm, North Middlesex and Barnet General Hospital and shared this with LB Enfield. • TfL and LB Enfield have now agreed to a further study to explore the impact of committed development and new employment on bus services in the borough as a second phase of work. 2 DRAFT Aims This study will aim to: •Asses the impact of new housing, employment and background growth on the current network and travel patterns. •Highlight existing shortfalls of the current network. •Propose ideas for improving the network, including serving new Developments. 3 DRAFT Approach to Study • Where do Enfield residents travel to and from to get to work? • To what extent does the coverage of the bus network match those travel patterns? • How much do people use the bus to access Enfield’s key employment areas and to what extent is the local job market expected to grow? • What are the weaknesses in bus service provision to key employment areas and how might this be improved? • What is the expected growth in demand over the next 10 years and where are the key areas of growth? • What short and long term resourcing and enhancements are required to support and facilitate growth in Enfield? 4 DRAFT Methodology •Plot census, passenger survey and committed development data by electoral ward •Overlay key bus routes •Analyse existing and future capacity requirements •Analyse passenger travel patterns and trip generation from key developments and forecast demand •Identify key issues •Develop service planning ideas 5 DRAFT Population Growth According to Census data LB Enfield experienced a 14.2% increase in population between 2001 and 2011 from 273,600 to 312,500.
    [Show full text]
  • Tuberculosis in London: Annual Review (2013 Data)
    Tuberculosis in London: Annual review (2013 data) Data from 1999 to 2013 Tuberculosis in London (2013) About Public Health England Public Health England exists to protect and improve the nation's health and wellbeing, and reduce health inequalities. It does this through world-class science, knowledge and intelligence, advocacy, partnerships and the delivery of specialist public health services. PHE is an operationally autonomous executive agency of the Department of Health. Public Health England Wellington House 133-155 Waterloo Road London SE1 8UG Tel: 020 7654 8000 http://www.gov.uk/phe Twitter: @PHE_uk Facebook: www.facebook.com/PublicHealthEngland Prepared by: Field Epidemiology Services (Victoria) For queries relating to this document, please contact: [email protected] © Crown copyright 2014 You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence v2.0. To view this licence, visit OGL or email [email protected]. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this publication should be sent to [email protected]. Published October 2014 PHE gateway number: 2014448 This document is available in other formats on request. Please call 020 8327 7018 or email [email protected] Tuberculosis in London (2013) Contents About Public Health England 2 Contents 2 Executive summary 5 Background 8 Objectives 8 Tuberculosis
    [Show full text]
  • Art and Society
    Art and Society Module Code 4ELIT007X Module Level 4 Length Session Two, Three Weeks Site Central London Host Course London International Summer Programme Pre-Requisite None Assessment 60% Essay, 40% Presentation Special features This module may include additional costs for museum tickets. Typical visits include the Tate Modern Museum, Victoria and Albert Museum, National Portrait Museum, Museum of London, British Museum, Wallace Collection, Serpentine Galleries, Welcome Collection. Note: These visits are not the same every year and they are subject to change. Summary of module content This module is an introduction to the visual culture of London, including painting, architecture, photography and contemporary media. Students will visit the major art galleries to examine how art works exhibitions and cultural organisations can be understood within wider social contexts. The sessions also include museums and historical sites, such as the British Museum and St Paul’s Cathedral, as well as art galleries. The classes will explore how these institutions reveal the complex cultural identity and history of London. The module develops students’ skills in visual analysis and critical thinking about culture. Learning outcomes By the end of the module the successful student will be able to: x Demonstrate ability to make a visual analysis of works of art x Demonstrate an understanding of visual arts x Demonstrate an understanding of the ways in which historical displays and sites can be related to a political, social or cultural context x Discuss the role of London as a cultural centre x Develop appropriate skills in academic presentation and writing. Course outcomes the module contributes to: Students will be able to demonstrate: NA 14 NB This module does not form part of the BA English Literature and cannot be taken by students on this pathway.
    [Show full text]
  • Summer 2021 Module Catalogue
    LONDON INTERNATIONAL SUMMER PROGRAMME MODULE CATALOGUE 2021 Introduction Welcome to the London International Summer Programme Module Catalogue 2021. The international summer programme offers students the option of studying modules from an introductory level to a more advanced level, in a given subject area. Students opting to study for the entire six-week session will take two modules in total, whilst students participating on only the three week session will take one module. Module Credits All credits obtained during the international summer school will be awarded via an official academic transcript from the University of Westminster with each module being worth 20 UK credits, which normally equates to 4 US or 10 ECTS credits. All modules must be taken on a credit-bearing basis and students will not have the option to audit any module on offer. Module Levels At the University of Westminster, modules are validated at a level corresponding to a particular year of study. The levels used are: • Level 4, which is equivalent to the 1st year of an undergraduate degree • Level 5, which is equivalent to the 2nd year of an undergraduate degree • Level 6, which is equivalent to the 3rd year of an undergraduate degree The levels used at the University of Westminster may be different to the overseas systems that you are used to. This should be taken into consideration when making module choices. Some overseas institutions (e.g. US and Japanese universities) consider the first year of their undergraduate degrees to be the equivalent to a foundation year of UK university undergraduate degree. Therefore, University of Westminster modules at Level 4 may be considered to be equivalent to modules taken in the second year of undergraduate degrees in the US and Japan.
    [Show full text]
  • The Challenges of French Impressionism in Great Britain
    Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well.
    [Show full text]
  • London Plan 2008
    The London Plan Spatial Development Strategy for Greater London Consolidated with Alterations since 2004 February 2008 www.london.gov.uk/thelondonplan The London Plan Spatial Development Strategy for Greater London Consolidated with Alterations since 2004 February 2008 www.london.gov.uk/thelondonplan The London Plan Copyright Greater London Authority February 2008 Published by Greater London Authority City Hall The Queen’s Walk More London London SE1 2AA Enquiries 020 7983 4100 Minicom 020 7983 4458 www.london.gov.uk ISBN: 978 1 84781 129 5 Cover photograph © Adam Hinton Acknowledgements The Mayor would like to thank everyone who contributed to this new version of the plan, including the Independent Panel, all participants at the Examination in Public and everyone else who responded to the public consultation. Most of all the Mayor thanks all the staff at City Hall who helped put the original plan together and who have contributed to the alterations over the past two years, especially Drew Stevenson, Robin Thompson, Debbie McMullen, Eleanor Young, Alex Bax and Dan Hawthorn. This document is printed on 80 per cent recycled paper, 20 per cent from sustainable forest management The London Plan Mayor of London iii table of Contents Preamble vii ‘My Vision for London’ xi Introduction vi The Mayor’s objectives xi Chapter 1 Positioning London 1 1 London’s place in the world 15 2 London – past and present 22 3 Forces driving change in London 26 Chapter 2 The broad development strategy 39 2A The overall strategy 39 1 Sustainable development 39
    [Show full text]
  • London at Night: an Evidence Base for a 24-Hour City
    London at night: An evidence base for a 24-hour city November 2018 London at night: An evidence base for a 24-hour city copyright Greater London Authority November 2018 Published by Greater London Authority City Hall The Queens Walk London SE1 2AA www.london.gov.uk Tel 020 7983 4922 Minicom 020 7983 4000 ISBN 978-1-84781-710-5 Cover photograph © Shutterstock For more information about this publication, please contact: GLA Economics Tel 020 7983 4922 Email [email protected] GLA Economics provides expert advice and analysis on London’s economy and the economic issues facing the capital. Data and analysis from GLA Economics form a basis for the policy and investment decisions facing the Mayor of London and the GLA group. GLA Economics uses a wide range of information and data sourced from third party suppliers within its analysis and reports. GLA Economics cannot be held responsible for the accuracy or timeliness of this information and data. The GLA will not be liable for any losses suffered or liabilities incurred by a party as a result of that party relying in any way on the information contained in this report. London at night: An evidence base for a 24-hour city Contents Foreword from the Mayor of London .......................................................................................... 2 Foreword from the London Night Time Commission ................................................................... 3 Foreword from the Night Czar ....................................................................................................
    [Show full text]
  • Spectral Latinidad: the Work of Latinx Migrants and Small Charities in London
    The London School of Economics and Political Science Spectral Latinidad: the work of Latinx migrants and small charities in London Ulises Moreno-Tabarez A thesis submitted to the Department of Geography and Environment of the London School of Economics for the degree of Doctor of Philosophy, London, December 2018 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 93,762 words. Page 2 of 255 Abstract This thesis asks: what is the relationship between Latina/o/xs and small-scale charities in London? I find that their relationship is intersectional and performative in the sense that political action is induced through their interactions. This enquiry is theoretically guided by Derrida's metaphor of spectrality and Massey's understanding of space. Derrida’s spectres allow for an understanding of space as spectral, and Massey’s space allows for spectres to be understood in the context of spatial politics.
    [Show full text]
  • 1 Before London Started Swinging: Representing the British Beatniks David Buckingham This Essay Is Part of a Larger Project
    Before London started swinging: representing the British beatniks David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. In his autobiography, Personal Copy, the journalist and broadcaster Ray Gosling describes a feeling of imminent change that was shared by many young people at the very end of the 1950s: There was just this feeling… that we were important, that something was going to happen. How, and in what direction, we didn’t know. And we didn’t much care. It was a very, very, very odd feeling, but we felt it. Gosling himself came from a frugal working-class background in the provincial English city of Northampton. In 1959, he dropped out of university and set up a youth centre in Leicester that was run autonomously by a committee of young people. The academic Richard Hoggart – the author of The Uses of Literacy, who was soon to become the founding director of the Centre for Contemporary Cultural Studies (CCCS) at Birmingham University – was on his management committee. Although Gosling’s youth centre collapsed, he developed the argument for youth-led welfare provision in a pamphlet for the Fabian Society; and he went on to build a career as a writer and public speaker, offering an insider’s perspective on the emerging youth culture of the time. He became associated with the New Left, and began to mix in the more cosmopolitan culture of London’s coffee bars, making friends with Stuart Hall (then the editor of the New Left Review) and the novelist Colin MacInnes, whom he described as his ‘mentor’.
    [Show full text]
  • Célia Maria Silva Oliveira 995 – 20
    Universidade do Minho Instituto de Letras e Ciências Humanas 0) 1 Célia Maria Silva Oliveira 995 – 20 From the Margins into the Mainstream: y Williams and Black British Theatre (1 Roy Williams and Black British Theatre (1995 – 2010) tream: Ro he Mains he Margins into t rom t F Célia Maria Silva Oliveira 2 1 UMinho|20 outubro de 2012 Universidade do Minho Instituto de Letras e Ciências Humanas Célia Maria Silva Oliveira From the Margins into the Mainstream: Roy Williams and Black British Theatre (1995 – 2010) Dissertação de Mestrado Mestrado em Estudos Ingleses Trabalho realizado sob a orientação da Professora Doutora Francesca Clare Rayner outubro de 2012 Acknowledgments I would like to thank Professor Francesca Rayner for introducing me to the world of New Writing in Britain and leading me in a quest of discovery. Thank you for the support and for believing in me and in the work that I could do. Thank you for the always open office door and the kind words. Filipe Couto, thank you for seeing qualities in me that I was not aware they existed. Thank you for the image that I have in your eyes. Sérgio Oliveira, more than my brother, my best friend, thank you for the support and the technical help. Sometimes, writing a thesis might have moments of desperation and Daniela and Neuza were always at the distance of a phone call. Thank you for the readings and for listening to my monologues. I would also want to thank all the people that direct and indirectly helped me and were part of this journey.
    [Show full text]