DOCSLIB.ORG

Reproducing Masculinities: Theatre and the ‘Crisis’ of the Adolescent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reproducing Masculinities: Theatre and the ‘Crisis’ of the Adolescent Reproducing Masculinities: Theatre and The ‘Crisis’ of the Adolescent Martin Heaney Royal Holloway, University of London Doctor of Philosophy: Drama and Theatre Declaration The work presented in this thesis is my own. Martin Heaney 2 Abstract This thesis explores the relationships between theatre and ideas of male adolescence. It examines the historical influences and political ideologies that have shaped contemporary understandings of male adolescence and ways in which dramatists have represented them. This investigation will illuminate the function of theatre as a site where the processes of acquiring social and symbolical masculine identities are debated and interrogated. The context for this discussion is generated by the English Riots of 2011 and related social issues such as youth unemployment and perceptions of urban male ‘delinquency’ and intergenerational ‘crisis’. It is shaped by an historic perspective that illuminates continuities between these contemporary phenomena and representations of adolescent ‘crisis’ of the Edwardian period. The research undertaken is interdisciplinary. It draws on cultural materialist ideas of drama and theatre as sites where identities are contested and new constructions of age and gender are formed. It includes a discussion of the social geographies of young men from the 1900s onwards in spaces of labour, the home, the street and the theatre. This study also contextualises adolescence in relation to theories of masculinity and social histories of male experience developed in the twentieth century. It explores the different cultural and political influences that were directed towards the control of the male adolescent ‘body’ and the representation of young men by twentieth-century dramatists who advanced new ideas of masculine identity and sexuality. These interpretations are connected to a discussion of the influences of the cultural imaginary of Empire and the male social experience of war. These historic perspectives on the representation of male adolescences are put forward to challenge normative associations of young men with delinquency in the 3 twenty-first century. They also indicate ways in which transitional spaces for young men in theatre, education, employment and in other social relationships can be re-imagined and re- constructed. 4 Table of Contents Page Chapter 1. The Adolescent in Theatre Re-Visioning Adolescence……………………………………………………………… 10 Interrogating the Contemporary ‘Crisis’ of Male Adolescence……… 16 Masculinity, Performance and Adolescences………………………………… 20 Chapter Outlines and Research Methods…………………………………….. 26 Chapter 2. Critical Perspectives on the Male Adolescent Connecting the present with the past…………………………………………. 32 The Edwardians and The Death of Permanence…………………………. 38 Interrogating the Adolescent………………………………………………………. 43 Drawing Lines: The Adolescent and Spaces of Transition and Exclusion…………………………………………………………………………………….. 58 Chapter 3. Constructing the Adolescent Adolescence and Apprenticeship as Transitional Space………………. 64 Industrialisation, Reform and the Creation of Urban Youth………… 74 The Commodification of Theatre and the Exclusion of the ‘Delinquent’……………………………………………………………………… 80 Chapter 4. The Constraint of the Adolescent Body Baden-Powell and the Disciplining of the Adolescent…………………. 87 Peter Pan and ‘Permanent Adolescence’…………………………………… 109 Chapter 5. Edwardian Theatre of Intergenerational Crisis 1911 – Year of Protest……………………………………………………………….. 121 5 ‘Cutting Away the Shackles’. The Adolescent in Drama of the Late Edwardian Age…………………………………………………………………… 126 Restaging the Adolescent. The Plays of Sir John Martin-Harvey… 136 Representing ‘The Delinquent’ in Edwardian Theatre………………… 142 Chapter 6. Lost Albion. The Representation of Adolescence, Nation and Masculinity in Post-War Drama of the Twentieth Century Critical Perspectives…………………………………………………………………… 153 The Invasion of the Englishman’s Home……………………………………… 160 Journey’s End……………………………………………………………………………… 165 Adolescence, Theatre and Nation. Between Nostalgia and Progress………………………………………………… 173 Towards Revolt. Adolescence, Theatre and Nation. Satire, Camp and The Dismantling of Empire…………………………… 183 Chapter 7. The Theatre of Edward Bond and the Representation Of the Adolescent Introduction………………………………………………………………………………. 192 The Development of Bond’s Critical Dramaturgy – The Early Plays…………………………………………………………………………… 197 Bond and Theatre for Young People…………………………………………… 212 Chapter 8. Other Echoes in the Garden. Theatre, Sex Education and the Adolescent Introduction……………………………………………………………………………….. 226 6 Thatcher’s Children. The New Cultural Politics of Restraint………… 229 Gay Sweatshop and the Work of Noel Greig………………………………. 232 Theatre in Education – Y Touring……………………………………………….. 242 Noel Greig’s Trashed, A Critical Dramaturgy for The Twenty-First century?.............................................................. 221 Chapter 9. Orphans and Artists, Transitional Space Beyond Dystopia. Developing critical frameworks to Interpret adolescent identities in theatre of the 2000s………………. 262 Hanging by a Thread. Adolescence, Masculinity and the Construction of National Identity in the 2000s………………. 264 Black British Theatre and the Adolescent…………………………………… 272 ‘Pampered Hostages’. The Representation of Malignant Adolescence……………………………………………………………… 275 Building Bridges, Like Stephen…………………………………………………… 290 Conclusion……………………………… ………………………………………………… 297 Bibliography……………………………………………………………………………… 314 7 8 Acknowledgements I would like to thank the many colleagues and friends who have helped me shape this study for their patient listening, ideas and insights. I thank, in particular, my friends Rachel Harrison, Helen Cazalet, Fiona Lesley of the Map Consortium and my business partner Alex McIntyre for their support. Writing a study with a strong historic focus has given me the opportunity to reflect on my debt to practitioners and teachers who have inspired me in earlier life. I would like to acknowledge the work of Colin Tufnell M.B.E. who first encouraged me to take part in school plays as an adolescent. I also thank practitioners who have given me hands on experience and knowledge of the power of theatre to question and challenge: Nigel Townsend of Y Touring Theatre, Jenny Harris and playwright Noël Greig. Their work has informed different parts of this study. I also thank my tutor, Professor Helen Nicholson for her intellectual rigour, hard work, patience and unfailing support in helping me bring this study to a conclusion. 9 Chapter 1 The Adolescent and Theatre Re-Visioning Adolescence One of the characteristics of my generation (that is, people in their 20s) has been a tendency to favour style over substance. Yes, we are very cool. But we have been depoliticised. The irony of our situation is that, despite holding the dubious honour of being the most globalised generation to date, the culture of individualism on which this is based (hammered into us during our Thatcherite adolescence) has robbed us of any sense of interconnectedness. We don't discuss ideologies. We rarely vote. We rarely look beyond the boundaries of our own lives. Our theatrical output often reflects this: stylish plays about youngsters going awry, but with little sense of a world outside. We struggle to dissect the bigger socio-political backdrop that might hold the reasons for their, and our, predicament. Our plays are as alienated from their political context as we are from politics itself. And that suits the vested interests that manipulate us just fine. (Kennedy, 2004) Fin Kennedy is a successful playwright whose career spans work at Soho Poly Theatre and as an artist-in-residence at the Mulberry School, East London, producing five plays with young people that include an Edinburgh Fringe First- Winner. He has also written extensively on young people’s participation in theatre in twenty-first century Britain. My study engages with many of the subjects of Kennedy’s argument: the association of social dystopia with the representation of the young and a questioning of how theatre reflects and interrogates political cultures and social values. My investigation is informed by a similar view of the 10 radical potential for theatre in the twenty-first century to interrupt governing ideas of adolescent identity and their associations with contemporary social dysfunction in particular. As an applied theatre practitioner, I share Kennedy’s commitment to a vision of a socially-engaged practice which he describes as: theatres with libraries brimming with history books and cultural critiques, theatres with meaningful links to local community groups and access to the thinkers and theorists of our time. (2004) Kennedy’s analysis also points to variations in the social experiences of adolescence. The student protests of 2010 by a generation younger than Kennedy, and the rises in youth participation in political movements (for example in the Scottish referendum vote and in numbers joining the Labour party in 2015), trouble Kennedy’s early twenty-first century view of the young as depoliticised or disengaged from socio-political discussion. My own teenage years in the 1970s were characterised by a period of political upheaval. I did not have Kennedy’s experience of an apolitical adolescence or a sense of social disconnectedness. I was active in school elections, adamantly anti-Thatcherite, hostile to the creeping influence of racism that infected the culture of my school and the area of West London I grew up in. In developing the arguments
Load more

Recommended publications
  • Arnold Wesker'ın Chicken Soup with Barley
    Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 2011 15 (2): 133-145 The Legacy of Communist Idealism Contested in Chicken Soup with Barley by Arnold Wesker: Political Imperative upon the Personal and Subverted Binary Opposites Erdinç PARLAK (*) Abstract: A dramatic dismantling will surely show that Arnold Wesker’s early plays represent the most amiable contestation of the New Left and the new conditions with the surprising yet desired success of the Labour. In early post-war years, Britons anachronistically hold the myth of the long Edwardian summer and thus reconnect with peace after the Great Wars. Unfortunately, though, the repressed memories of Wars haunt the writings and the aura of the age. That’s why in Wesker’s accounts, especially in his early corpus, Wars work double shift reminding us the hopes of the new generation and their disillusionment after the failure of the Labour. With this background in mind, our study tries to enlarge the theme of communist idealism and disappointment contested in Wesker’s Chicken Soup with Barley. In this play, an angry young man through and through and a representative playwright of the first wave in post-war British drama, Arnold Wesker poignantly shows how politics works as an imperative upon the private and the personal and it is also the sexual politics that Wesker contests and subverts. These two issues further serve for his handling of ethnicity (Anglo-Jewry), class (proletariat) and gender (binary opposition). Key Words: Arnold Wesker, communist idealism, subverted binary opposites, sexual politics, Anglo-Jewry, proletariat Arnold Wesker’ın Chicken Soup With Barley (Arpalı Tavuk Çorbası) Oyununda Komünist İdealizm Mirası: Birey Üzerindeki Siyasi Zorunluluk ve Bozulan İkili Karşıtlıklar Özet: Dramatik bir çalışma Arnold Wesker’ın ilk oyunlarının, İşçi Partisi‘nin beklenen fakat şaşırtıcı başarısıyla gelen yeni dünya düzeni ve Yeni Sol hareketinin en hafif ve yumuşak tanıklığını gösterecektir.
    [Show full text]
  • Visuality and the Theatre in the Long Nineteenth Century #19Ctheatrevisuality
    Visuality and the Theatre in the Long Nineteenth Century #19ctheatrevisuality Henry Emden, City of Coral scene, Drury Lane, pantomime set model, 1903 © V&A Conference at the University of Warwick 27—29 June 2019 Organised as part of the AHRC project, Theatre and Visual Culture in the Long Nineteenth Century, Jim Davis, Kate Holmes, Kate Newey, Patricia Smyth Theatre and Visual Culture in the Long Nineteenth Century Funded by the AHRC, this collaborative research project examines theatre spectacle and spectatorship in the nineteenth century by considering it in relation to the emergence of a wider trans-medial popular visual culture in this period. Responding to audience demand, theatres used sophisticated, innovative technologies to create a range of spectacular effects, from convincing evocations of real places to visions of the fantastical and the supernatural. The project looks at theatrical spectacle in relation to a more general explosion of imagery in this period, which included not only ‘high’ art such as painting, but also new forms such as the illustrated press and optical entertainments like panoramas, dioramas, and magic lantern shows. The range and popularity of these new forms attests to the centrality of visuality in this period. Indeed, scholars have argued that the nineteenth century witnessed a widespread transformation of conceptions of vision and subjectivity. The project draws on these debates to consider how far a popular, commercial form like spectacular theatre can be seen as a site of experimentation and as a crucible for an emergent mode of modern spectatorship. This project brings together Jim Davis and Patricia Smyth from the University of Warwick and Kate Newey and Kate Holmes from the University of Exeter.
    [Show full text]
  • Dominic Cooke Director
    Dominic Cooke Director Film 2021 THE COURIER Feature film starring Benedict Cumberbatch 42/SunnyMarch World Premiere – Sundance Film Festival 2020 2017 ON CHESIL BEACH Feature film based on the novel by Ian McEwan BBC Films & Number 9 Films North American Premiere – Toronto International Film Festival 2017 Television 2016 THE HOLLOW CROWN 3 Episodes: Henry VI Part I, Henry VI Part II, Richard III BBC/ NBC Universal Television / Neal Street Productions / WNET Thirteen Theatre 2017 FOLLIES Written by Stephen Sondheim Royal National Theatre 10 Olivier Nominations including Best Director 2016 PIGS AND DOGS Written by Caryl Churchill Royal Court Theatre 2016 MA RAINEY’S BLACK BOTTOM Written by August Wilson Royal National Theatre 1 Olivier Win 2015 HERE WE GO Written by Caryl Churchill Royal National Theatre 2015 TEDDY FERRERA Written by Christopher Shinn Donmar Warehouse 2013 THE LOW ROAD Written by Bruce Norris Royal Court Theatre 2013 IN THE REPUBLIC OF HAPPINESS Written by Martin Crimp Royal Court Theatre 2012 DING DONG THE WICKED Written by Caryl Churchill Royal Court Theatre 2012 CHOIR BOY Written by Tarell Alvin McCraney Royal Court Theatre 2012 IN BASILDON Written by David Eldridge Royal Court Theatre 2011 CHICKEN SOUP WITH BARLEY Written by Arnold Wesker Royal Court Theatre 2011 THE COMEDY OF ERRORS Written by William Shakespeare Royal National Theatre 2010 CLYBOURNE PARK Written by Bruce Norris Royal Court Theatre 1 Olivier Win 2009 AUNT DAN AND LEMON Written by Wallace Shawn Royal Court Theatre 2009 THE FEVER Written by Wallace Shawn Royal Court Theatre 2009 SEVEN JEWISH CHILDREN Written by Caryl Churchill Royal Court Theatre 2008 WIG OUT! Written by Tarell Alvin McCraney Royal Court Theatre 2008 NOUGHTS AND CROSSES Director & Writer.
    [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]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Aes 143Rd Convention Program October 18–21, 2017
    AES 143RD CONVENTION PROGRAM OCTOBER 18–21, 2017 JAVITS CONVENTION CENTER, NY, USA The Winner of the 143rd AES Convention To be presented on Friday, Oct. 20, Best Peer-Reviewed Paper Award is: in Session 15—Posters: Applications in Audio A Statistical Model that Predicts Listeners’ * * * * * Preference Ratings of In-Ear Headphones: Session P1 Wednesday, Oct. 18 Part 1—Listening Test Results and Acoustic 9:00 am – 11:00 am Room 1E11 Measurements—Sean Olive, Todd Welti, Omid Khonsaripour, Harman International, Northridge, SIGNAL PROCESSING CA, USA Convention Paper 9840 Chair: Bozena Kostek, Gdansk University of Technology, Gdansk, Poland To be presented on Thursday, Oct. 18, in Session 7—Perception—Part 2 9:00 am P1-1 Generation and Evaluation of Isolated Audio Coding * * * * * Artifacts—Sascha Dick, Nadja Schinkel-Bielefeld, The AES has launched an opportunity to recognize student Sascha Disch, Fraunhofer Institute for Integrated members who author technical papers. The Student Paper Award Circuits IIS, Erlangen, Germany Competition is based on the preprint manuscripts accepted for the Many existing perceptual audio codec standards AES convention. define only the bit stream syntax and associated decod- A number of student-authored papers were nominated. The er algorithms, but leave many degrees of freedom to the excellent quality of the submissions has made the selection process encoder design. For a systematic optimization of encod- both challenging and exhilarating. er parameters as well as for education and training of The award-winning student paper will be honored during the experienced test listeners, it is instrumental to provoke Convention, and the student-authored manuscript will be consid- and subsequently assess individual coding artifact types ered for publication in a timely manner for the Journal of the Audio in an isolated fashion with controllable strength.
    [Show full text]
  • Download This PDF File
    4 Jim Davis University of Warwick, UK First Bouquets, Big Heads and Obstinate Horses: Illustrating the Victorian Pantomime This paper explores the ways in which different illustrated periodicals mediated the English Christmas pantomime to their readers from the 1860s-1890s. It analyses the styles and genres of illustration associated with certain periodicals and certain artists, using as its starting point Charles Green’s watercolour ‘Her First Bouquet,’ an engraving of which was one of the earliest illustrations to appear in the Graphic. Illustrations of scenes from pantomimes and of preparations for the pantomime, as well as the use of pantomime for political satires, are discussed. A stylistic change in the way pantomimes were depicted at the turn of the century is also noted. Jim Davis is Professor of Theatre Studies at the University of Warwick and has published extensively on Victorian theatre. His latest work is the edited collection of critical essays, Victorian Pantomime, published by Palgrave Macmillan (2010). _____________________________________________________________________________________________ Keywords: Pantomime, engravings, periodical illustrations, Charles Green, Frederick Barnard, D. H. Friston, masks (Big Heads), audiences, rehearsals. n 1869 the Graphic published in its first Christmas number an I engraving of Charles Green’s Her First Bouquet, based on an 1868 watercolour on board, which is now privately owned.1 (Fig 1) A pastel version of the scene also survives in the theatre collection at Bristol University (Fig 2), as well as a coloured clipping of the Graphic engraving. This is a depiction of life behind the scenes, in the wings of a theatre, allegedly the Britannia, Hoxton, during a performance of the pantomime.
    [Show full text]
  • University of Pardubice Faculty of Arts and Philosophy Angry Young Men
    University of Pardubice Faculty of Arts and Philosophy Angry Young Men in British Drama: Analysis and Comparison of The Entertainer and The Kitchen Bachelor Thesis 2020 Karolína Jeníčková Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Beru na vědomí, že v souladu s § 47b zákona č. 111/1998 Sb., o vysokých školách a o změně a doplnění dalších zákonů (zákon o vysokých školách), ve znění pozdějších předpisů, a směrnicí Univerzity Pardubice č. 7/2019, bude práce zveřejněna v Univerzitní knihovně a prostřednictvím Digitální knihovny Univerzity Pardubice. V Pardubicích dne 14. 4. 2020 Karolína Jeníčková ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor, Mgr. Petra Kalavská, Ph.D., for her kindness and valuable advice during writing of this thesis. I would also like to thank my family for their support throughout my studies. ANNOTATION This bachelor thesis focuses on The Entertainer (1957) by John Osborne and on The Kitchen (1959) by Arnold Wesker, the plays written by playwrights referred to as the Angry Young Men.
    [Show full text]
  • The Edwardian Theatre: Essays on Performance and the Stage Edited by Michael R
    Cambridge University Press 978-0-521-45375-2 - The Edwardian Theatre: Essays on Performance and the Stage Edited by Michael R. Booth, Joel H. Kaplan Index More information Index Page numbers in bold type refer to illustrations. Abercrombie, Lascelles 29 theatre societies 133-5 Abrahams, Morris 215 women 62, 67, 137-40 actor-managers 157-8 Austin, Charles 69 actors Authors' Producing Society 170 and cinema 228-9 'autumn drama' 222-3, 22^» 233~~4 and critics 154, 155-6, 162-3 avant-garde movement 130—3 Jewish 205-6 Axelrad, Maurice 205 off-stage 144 Actresses' Franchise League (AFL) 104, Bailey, Peter x, 3-4, 36-55, 75, 79, 120, 170, 173, 192 121, 171 Adcock, A. St John 28 Balfour, Arthur, Earl 140 Adler, Jacob 205, 208-9 Bandmann-Palmer, Millicent 118 Ainley, Henry 144 bankers 112-14 Albert and Edmonds 96 Barker, Harley Granville see Granville Alexander, Sir George 139, 143, 144 Barker, Harley Allan, Maud 79 Barnes, Kenneth 187 Allen, Harry 96 Barrett, Wilson 162 Allen Theatres Company 122 Barrie, J. M. 12, 21, 22, 23-4, 25-7 Alving, Oswald 172 Baylis, Lilian 117, 118 Angyalfi, Arthur 94 Beatie, May 100 Antoine, Andre 134, 142 Beerbohm, Max 152, 161, 162 Archer, William 7, 148, 153, 155, 156-9, on Barrie 26 163 on musical comedy 44, 54 on musical comedy 3, 36, 47, 48, 53-4, on other critics 155, 156 55 on Christabel Pankhurst 186 on national theatre 20 on pantomime 25 on realism 16-18 Ben Hur 226-7 art 130-2 Bennett, Arnold 180, 189 Ashwell, Lena 118, 119, 126, 170 Benrhardt, Sarah 196, 228 audiences 6, 27-8, 130-46 Bensusan, Inez 170, 172 attendances 148-50 Beringer, Esme 108, 177 and avant-garde movement 130-3 Berman, Russell 131 and critics 154, 155, 157 Besant, Walter 201 dress of 137-40, 143-4, 2l2 Birkin, Andrew 25 intellectualization of 136-7, 140-2 Bjornson, B.
    [Show full text]
  • 1 Plays, Books
    PLAYS, BOOKS - WRITTEN, PUBLISHED and PERFORMED; PRIZES. 1950s (Circa) And After Today – play written for amateur drama group ‘The Query Players’ to which A.W belonged. Never performed. Precursor to Chicken Soup with Barley. 1951 The Reed That Bent. A novel. Unpublished but used as the basis for ‘Chips With Everything’. Begun 30 April finished 17 August. The novel itself was drawn from assembled letters written to friends and family during 8 weeks of ‘square bashing’ as an RAF National Service conscript. 1955 Pools. A short story. Begun 16th October, finished following month. 1956 The Kitchen. No date on written MS. Probably begun in this year. Entered for The Observer Play competition in original form of two acts with no Interlude. No prizes. 1957 Life Is Where You Live. Musical written for Primrose Jewish Youth Club of which A.W. was the ‘drama director.’ Fiona Castiglione, the granddaughter of the composer, Rutland Boughton, wrote four or five songs then gave up! June 1957. Chicken Soup With Barley. First notes, circa early October 1957. The play (first entitled ‘When the Wind Blows’) begun 8 October 1957. 1958 Chicken Soup With Barley. First presented at The Belgrade Theatre, Coventry, 7 July for one week, directed by John Dexter. Subsequently at The Royal Court, London on14th July for one week as part of a four week ‘Guest Repertory Season’. Roots. Begun 20th June. 2nd typed draft completed 29 October. I’m Talking About Jerusalem. Begun 9 December. (1st typed draft dated 1st December 1959. 3rd typed draft dated 11th May 1960. Pools. Printed in The Jewish Quarterly, Winter 58/59.
    [Show full text]
  • Theatre, Communism, and Love
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE PASSIONATE AMATEURS Passionate Amateurs THEATRE, COMMUNISM, AND LOVE Nicholas Ridout THE UNIVERSITY OF MICHIGAN PRESS Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written per- mission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in- Publication Data Ridout, Nicholas Peter. Passionate amateurs : theatre, communism, and love / Nicholas Ridout. pages cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 978-0- 472- 11907- 3 (cloth : alk. paper) — ISBN 978-0- 472- 02959- 4 (e- book) 1. Theater and society. 2. Communism and culture. I. Title. PN2051.R53 2013 792—dc23 2013015596 For Isabel and Peter, my parents Acknowledgments Throughout the writing of this book I was fortunate to work in the De- partment of Drama at Queen Mary University of London. Colleagues and students alike made the department a truly stimulating and supportive place to be, to work, and to think. I am grateful to them all. I owe particu- lar thanks, for conversations that contributed in tangible ways to the de- velopment of this work, to Bridget Escolme, Jen Harvie, Michael McKin- nie, Lois Weaver, and Martin Welton.
    [Show full text]
  • Forty-Third Annual Report of the Manchester and Salford Boys' and Girls' Refuges and Homes and Children's Aid Society [1913] Reference Number: DA/2020/1/8 (1912)
    The Together Trust Archive The Forty-Third Annual Report of the Manchester and Salford Boys' and Girls' Refuges and Homes and Children's Aid Society [1913] Reference number: DA/2020/1/8 (1912) Original copies can be viewed at Manchester Central Library Rare Books Collection: 362.7M1 1910-12 © 2021 The Together Trust FORTY-THIRD ANNUAL REPORT OF THE MANCHESTER AND SALFORD Boys' &Girls' Refuges &Homes AND CHILDREN'S AID SOCIETY. 1912, COMPRISING ;- Homes for Orphan Children. Emigration of Poor Children. Homes for Destitute Children. Police Court Mission. Home for Cripple Children. Prison Gate Mission. HolidayF for Poor Children. City Shelter for lost or cruelly treated Children. Knowing one thing the sacredest and fairest,­ Knowi1lg there is not anything but Love. Ay, and when Prophecy her fale hath finished, Knowledge hath withered from the trembli1lg tongue, Lovd shall survive and Love be undiminished, Love be imperishable, Love BE young, "These Homes are based upon Christian principles, they are managed by practical methods, and are doing a great work for all the Churches. They are doing the work of ten Societies, and are in danger of only receiving the support of one." -THE LORD BISHOP OF MANCHESTER (Dr. Ivloorhouse) at the Annual Meeting, 1892. Manchester and Salford BOYS' AND GIRLS' REFUGES AND HOMES AND CtllLDREN'S AID SOCIETY, STRANGEWAYS, MANCHESTER. J'rustees: LoRD ROTHERHAM. ·ALDERMAN JAMES FILDES, J.P. ·HENRY CHARLTON, Esq., J.P. ·HARRY E. GADDUM, Esq" J.P. W. A. ARNOLD, Esq. ·BRIAN CROSSLEY, Esq. THEODORE CREWDSON, Esq.,J.P, ROBT, N. BARCLAY, Esq. FRED J. HAYES, Esq. •Property J'rustees 0/ tile Institution.
    [Show full text]