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Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
Sean O'casey Modern Judgements

Modern Judgements SEAN O'CASEY MODERN JUDGEMENTS General Editor: P. N. FURBANK Dickens A. E. Dyson Henry James Tony Tanner Milton Alan Rudrum Sean O'Casey Ronald Ayling Pasternak Donald David and Angela Livingstone Walter Scott D. D. Devlin Shelley R. B. Woodings Swift A. NormanJeffares IN PREPARATION Matthew Arnold P. A. W. Collins Ford Madox Ford Richard A. Cassell Freud F. Cioffi Marvell M. Wilding Pope Graham Martin Racine R. C. Knight Sean 0' Casey MODERN JUDGEMENTS edited by RONALD AYLING Macmillan Education Selection and editorial material© Ronald Ayling 1969 Softcover reprint of the hardcover rst edition 1969 978-0-333-03330-2 ISBN 978-o-333-07049-9 ISBN 978-1-349-15301-5 (eBook) DO I 10.1007I 978-1-349-15301-5 First published 1969 MACMILLAN AND CO LTD Little Essex Street London WC2 and also at Bombay Calcutta and Madras Macmillan South Africa (Publishers) Pty LtdJohannesburg The Macmillan Company ofAustralia Pty Ltd Melbourne The Macmillan Company ofCanada Ltd Toronto For Elsie and Charles Osborn to whom I owe so much Contents Acknowledgements 7 General Editor's Preface 9 Introduction II Chronology 42 Drama HERBERT COSTON Prelude to Playwriting 47 P. s. o'HEGARTY A Dramatist ofNew-born Ireland 6o A. E. MALONE O'Casey's Photographic Realism 68 JAMES AGATE Juno and the Paycock and The Plough and the Stars 76 DENIS JOHNSTON Sean O'Casey: An Appreciation 82 w. B. YEATS TheSilverTassie:ALetter 86 CHARLES MORGAN The Silver Tassie 88 GEORGE BERNARD SHAW LettertotheProducerofThe Silver Tassie 91 BONAMY DOBREE SeanO'CaseyandthelrishDrama 92 UNA ELLIS-FERMOR PoetryinRevolt 106 JOHN GASSNER TheProdigalityofSeanO'Casey IIO JACQUES BARZUN O'Casey at Your Bedside 120 A.
Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059

INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
Talking out of Tune

Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s.
The Railway Station That Never Was

THE NORTHAMPTON SHOEMAKERS' REACTION TO INDUSTRIALISATION: SOME THOUGHTS KEITH BROOKER Jeffery Porter's article, The Northampton tion has been seen as being generated by either a Boot & Shoe Arbitration Board Before 1914'' is vocal militant minority, or by latter-day Luddism. the latest in a long line of national and local Inevitably, the attitudes of men are more com studies, which have firmly set the footwear plex, and here one finds a significant portion who industry in the vanguard of industrial relations were n<;>t nec~ssarily militant nor Luddite, yet developments before 1914. Indeed, the ability of were dtametncally opposed to official union the industry to establish such a code of concilia policy in several fundamental respects. Conse tion and arbitration practice has dominated the quently, Porter's dismissal of rank and file dissent writing on this period in the trade's labour during this period by the sentence, " ...There was history. also difficulty because the replacement of outdoor The article rightly stresses the difficulties and working by indoor workshops brought with it conflicts the Northampton, and indeed other problems of adjustments similar to those arbitration boards faced in their work to adjust experienced by other trades during the Industrial wage rates, productivity levels, and associated Revolution and the drawing up of factory rules matters during this petiod of technological and caused considerable friction ... '', 4 would appear organisational change in the industry. Yet this to be not only perfunctory, but also to ignore the institutional response to change really only relates fundamental issue which divided employer and part of the story, and, in common with both employee at this time.
The Anglican Concept of Churchmanship

Chapter 1 The Anglican concept of Churchmanship Prologue A distinguished journalist, John Whale, who died in June 2008, was wont to describe Anglicanism as “the most grown up expression of Christianity”. He knew what he was talking about. What led him to that À attering conclusion was undoubtedly his view from the editorial chair of the Church Times. This gave him a unique insight into the extraordinary breadth, height, depth and maturity of Anglican diversity, comprehensiveness and mutual tolerance, unparalleled in any other branch of the Christian Church. That precious, easygoing tolerance, that civilised agreement to differ on so many vital issues, which so impressed Whale (himself born into a contrasting form of ecclesiastical anarchy, his father’s Congregationalism), has worn extremely thin of late, transforming the Church of EnglandSAMPLE and the Anglican Communion worldwide from the appearance of a (more or less) civilised ecclesiastical debating society, into something more like a theatre of war, leading many staunch Anglicans to, or even over, the brink of despair. That, at any rate, is one way of looking at our present situation. It is not, however, the view taken in this book. Its author claims to be as staunch an Anglican as any, though remaining far from uncritical. Born, baptised, con¿ rmed and brought up in the C. of E., serving in its regular ordained parochial ministry for upwards of sixty years and ¿ rmly expecting to end his days in its communion and fellowship, he offers a broader, longer term and in some ways a more hopeful, positive and optimistic perspective, though only too aware of its limitations.
The Shakespearean Performances of Sir John Gielgud

University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 2nd of 2 files Chapters 4-6 Appendices and Bibliography THE SHAKESPEAREAN PERFORMANCES OF SIR JOHN GIELGUD by Robert James Frost Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy of the University of Birmingham. The Shakespeare Institute October 1983 243 CHAPTER FOUR MUCH ADO ABOUT NOTHING Much Ado About Nothing is to be distinguished from the other comedies of Shakespeare that are its nearest contemporaries because of its concern with one circumscribed social unit. Unlike As You Like It,Twelfth Night, The Merchant of Venice and A Midsummer Night's Dream,which play off different kinds of worlds against each other, the problems arising in one being resolved by a retreat to the next or alternatively by a foreign visitor, the action of Much Ado About Nothing is focussed on a single, indigenous group. (That Don Pedro,strictly speaking,is an outsider from Aragon seems less important than the fact that he and the other guests freely interact with Leonato's household, making themselves at home there.) If the intervention of Dogberry and the Watch is required to restore harmony, then Dogberry, although of a different class, is quite clearly part of the civic life of Messina.
An Introduction to the Night-Watch Constable

Cambridge University Press 978-1-107-02149-5 - Reviewing Shakespeare: Journalism and Performance from the Eighteenth Century to the Present Paul Prescott Excerpt More information chapter one An introduction to the night-watch constable Performance, print, memory: three preludes 17 May 1833: George Douchez, Esq., physician, contemplates the corpse of Edmund Kean. Setting about the melancholy task of dissecting the great actor, he notes ‘a heart excessively loaded with fat’, a ‘considerably emaciated’ face and neck, and a brain whose substance is ‘softer than usual’. Suddenly these neutral, detached observations give way to a heightened moment of appreciation: ‘Body well formed, and the external form of the thorax and the abdomen so beautifully developed as to serve as one of the ﬁnest models that could possibly be presented to the eye of the sculptor or painter’ (Hillebrand 1966: 371–2). Sixteen years earlier, on 27 October 1817, The Times had carried a review of Kean’s performance as Othello, a notice that had concluded with a comparable admiration for the detail and overall effect on the spectator of Kean’s physique: ‘The convulsed motions of the hands, and the involuntary swellings of the veins of the forehead in some of the most painful situations, should not only suggest topics of critical panegyric, but might furnish studies to the painter or anatomist’ (Hazlitt 1930–4: xviii 263). That two different but related forms of memorialisation should fasten on the pictorial quality of an actor’s body is perhaps unsurprising. Yet what may shift the relationship from coincidence to quotation is the fact that the theatre reviewer, William Hazlitt, felt so pleased with his initial review that he republished it, almost verbatim, on two further occasions.
Frieda Von Richthofen and Karl Von Marbahr

J∙D∙H∙L∙S Journal of D. H. Lawrence Studies Citation details Article: ‘The Achievement of the Cambridge Edition of the Letters and Works of D. H. Lawrence: A First Study’ Author: Jonathan Long Source: Journal of D. H. Lawrence Studies, Vol. 3, No. 3 (2014) Pages: 129‒151 Copyright: individual author and the D. H. Lawrence Society. Quotations from Lawrence’s works © The Estate of Frieda Lawrence Ravagli. Extracts and poems from various publications by D. H. Lawrence reprinted by permission of Pollinger Limited (www.pollingerltd.com) on behalf of the Estate of Frieda Lawrence Ravagli. A Publication of the D. H. Lawrence Society of Great Britain Journal of D. H. Lawrence Studies, Vol. 3, No. 3 (2014) 129 THE ACHIEVEMENT OF THE CAMBRIDGE EDITION OF THE LETTERS AND WORKS OF D. H. LAWRENCE: A FIRST STUDY JONATHAN LONG The title of this essay is an allusion to Stephen Potter’s D. H. Lawrence: A First Study, published in 1930. In fact, as Potter was aware, it was not the first book published on Lawrence. That was Herbert Seligmann’s D. H. Lawrence: An American Interpretation, published in 1924.1 As Potter knew, his study was only the first published in England. Since then hundreds have been published across the world. And there will probably be much more to say about the Cambridge Edition than it is possible to suggest here, reflecting the significance of the Edition and, in turn, the significance of Lawrence, as demonstrated by the number of books published on him. Lawrence’s prolific but relatively short career as a writer of novels, novellas,
Summary: the Collection Consists of the Editorial and Production Archives of Random House, Inc

Ms CollXRandom House Random House. Records, 1925-1992. £9**linearft. (ca.-Q&F,000 items in 1,657-boxes) 13 % SI Summary: The collection consists of the editorial and production archives of Random House, Inc. from its founding in 1925 to the present time. The correspondence and editorial files include many of the most important novelists and short story writers in American and European literature: Saul Bellow; Erskine Caldwell; Truman Capote; William Faulkner; Sinclair Lewis; Andre Malraux; Gertrude Stein and Thornton Wilder. Among the contemporary poets there are files for W. H. Auden; Allen Ginsberg; Robinson Jeffers; Robert Lowell; and Stephen Spender. In the area of theater there are files for Maxwell Anderson; Moss Hart; Lillian Hellrnan; Eugene O'Neill; and Tennessee Williams. Random House transacted business with many fine presses and noted typographers and the archives contain files for Nonesuch Press, Grabhorn Press and Golden Cockerel Press, as well as for Bruce Rogers, Valenti Angelo, and Edwin, Jane, and Robert Grabhorn. The most important book published by Random House was James Joyce's Ulysses. Because of its alleged obscenity, it was only legally admitted into the United States after a long battle by Random House in the courts ending in 1934. The Random House Archives contain letters and documents relating to this famous case. Organized in the following series: Cataloged correspondence; Joyce-Ulysses correspondence;Miscellaneous manuscripts; Cerf/Klopfer files, 1946-1954; 1956-1965; Name file, 1925-1945; Publishers file, 1925-1945; Publishers file, A-Z, 1925-1945; Subject file, 1925-1945; Production/Editorial file, 1927-1934; Random House cataloges; Alfred A Knopf catalogs; Photographs; Nonesuch Press, 1928-1945; Modem fine presses, 1928-1945; Manufacturing dept.
Beyond Holy Russia: the Life and Times of Stephen Graham

Beyond Holy Russia MICHAEL The Life and Times HUGHES of Stephen Graham To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/217 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. BEYOND HOLY RUSSIA The Life and Times of Stephen Graham Michael Hughes www.openbookpublishers.com © 2014 Michael Hughes This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Hughes, Michael, Beyond Holy Russia: The Life and Times of Stephen Graham. Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0040 Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0 Every effort has been made to identify and contact copyright holders; any omissions or errors will be corrected if notification is made to the publisher. Digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/isbn/9781783740123 ISBN Paperback: 978-1-78374-012-3 ISBN Hardback: 978-1-78374-013-0 ISBN Digital (PDF): 978-1-78374-014-7 ISBN Digital ebook (epub): 978-1-78374-015-4 ISBN Digital ebook (mobi): 978-1-78374-016-1 DOI: 10.11647/OBP.0040 Cover image: Mikhail Nesterov (1863-1942), Holy Russia, Russian Museum, St Petersburg.
Mary Potter on One Page for Booklet 1.3.13

09/12/2013 Mary Potter This year – 2013 - the most famous orchestras, opera companies and conductors in 140 cities across 30 countries are celebrating the centenary of the birth of Benjamin Britten. Beckenham’s links with Britten began in the 1950s and in particular 1957 when he swopped his sea front Crag House for the legendary Red House in Aldeburgh. The other party to the swop was his close friend, the artist Mary Potter, one of the foremost British women artists of her time. Born Mary Attenborough in Beckenham in 1900, she was a colleague and friend of Enid Blyton at St Christopher’s School in Rectory Road before she entered the Beckenham School of Art. From there she used an Orpen Beckenham School of Art bursary award to go the Slade School in October 1918. In 1927 she married Stephen Potter who became famous for his books on gamesmanship which were adapted for the cinema and TV in the 1960’s and 1970’s. They lived in Chiswick and later in Harley Street in London before moving into The Red House in Aldeburgh in 1951. By 1957 after her two sons had grown up and Stephen had left her, Mary found The Red House was too big for her and agreed with a suggestion by her son Julian that she exchange homes with Britten. He was delighted with the exchange but Mary found that Crag House was not as suitable as she had hoped. Aware of this, Britten had built for her a bespoke bungalow and studio in the grounds of The Red House.