k~rcAA/~ d e cc" ARTS COUNCIL OF GREAT BRITAI N REFERENCE ONLY

DO NOT REMOVE .FROM THE LIBRARY

The Arts Council of Twenty-seventh Great Britain annual report and accounts 31 March 1971-1972 ISBN 0 900085 71 1 Published by the Arts Council of Great Britai n 105 Piccadilly, London wtv oA u Designed and printed at Shenval Press Text set in `Monotype' Times New Roman 327 and 33 4 Cover: Wiggins Teape Centurion Text paper : Mellotex Smooth Superwhite cartridge 118g/m' Membership of the Council, Committees and Panels

Council Photography Committee Patrick Gibson (Chairman) Serpentine Gallery Committee Sir John Witt (Vice-Chairman) The following co-opted members serve on one o r The Marchioness of Anglesey more of these committees : Richard Attenborough, CBE Professor Aaron Scharf The Lord Balfour of Burleigh Bil Gaskin s Lady Casso n George J. Hughes Colonel Sir William Crawshay, DSO, TD David Hurn Dr Cedric Thorpe Davie, OB E Paul Huxley Professor T. A. Dunn The Viscount Esher, CBE Drama Panel Lady Antonia Fraser J. W. Lambert, CBE, Dsc (Chairman) ) Sir William Glock, CB E Professor Roy Shaw (Deputy Chairman Peter Hall, CB E Miss Susanna Capon Stuart Hampshire Peter Cheeseman J. W. Lambert, CBE, Dsc Professor Philip Collins Professor Denis Matthews Miss Harriet Cruickshank s Sir John Pope-Hennessy, CBE Miss Constance Cumming The Hon Sir Leslie Scarman, OBE Peter Dews Professor Roy Sha w Patrick Donnell, DSO MBE The Lord Snow, CBE Miss Jane Edgeworth, Richard Findlater Art Panel Bernard Goss Sir John Pope-Hennessy, CBE (Chairman) Nickolas Grace Alan Bowness Mrs Jennifer Harri s Simon Chapman Philip Hedley Michael Compto n Peter Jame s Richard Cork Hugh Jenkins, MP Professor Christopher Cornford Oscar Lewenstei n Theo Crosby Dr A. H. Marshall, CBE Hubert Dalwoo d Peter Nichol s The Marquess of Dufferin and Ava Timothy O'Brie n Ian Dunlop Richard Pilbro w Dennis Farr Owen Ree d Richard Hamilton Derek Salberg, OBE, J P Francis Hawcroft Peter Shaffer David Hockney Donald Sinden John Hulton Miss Caroline Smith Bryan Kneale Shaun Sutton Edward Lucie-Smith Carl Toms, OBE Miss Julia Trevelyan Oman Tristram Powel l Committees of the Drama Panel : Philip Rawson Training Committee: Jeremy Ree s Designers' Working Group Sir Norman Reid Directors' Working Grou p Bryan Robertson, OBE Drama Schools' Working Group Sir Robert Sainsbury Technicians' Working Group Richard Smith, CB E David Sylveste r New Drama Committe e Brian Wall Experimental Drama Committee Colin St John Wilso n Young People 's Theatre Committee The following co-opted members serve on one or more Committees of the Art Panel : of these committees : Exhibitions Sub-Committee Ian Albery

3 Membership of the Council, Committees and Panels (continued)

John Allen Committees of the Literature Panel: Brian Berm Fiction Book Club Sub-Committee William Bessant Literary Magazines Sub-Committee Mrs Margaret Birkett Translation Sub-Committe e Stuart Burge Writers in Factories Sub-Committee John Bury The following co-opted members serve on one or mor e John Clarke of these committees : Douglas Cornelissen George Astley Michael Elliott Peter du Sautoy, CBE Martin Esslin, OBE Graham C. Greene Ronald Eyre John Ford National Manuscript Collection of Contemporary David Forder Writers' Committee John Harrison Dr Philip Larkin (Chairman) Ralph Koltai Nicholas Barker Barry Letts Douglas Cleverdon John McGrath Dr K. W. Humphrey s Iain Mackintosh W. Hilton Kelliher Michael MacOwan Edward Lucie-Smit h Vivian Matalon Mrs A. J. Stratford Val May, CBE P. E. Tucker Benedict Nightingale Harry Pegg Music Panel Robin Phillips Peter Williams, OBE (Acting Chairman) Jonathan Porter Paul Banks Peter Rice Richard Rodney Bennett Ken Smalley Harrison Birtwistl e Robert Stanton Miss April Cantel o Peter Stark Dame Ninette de Valois, DBE Miss Janet Suzman David Drew Miss Elizabeth Sweeting, MBE Gerald English Miss Cora Williams James Gib b David Wood Sir William Glock, CBE Colin Graham Literature Panel Barrie Iliffe Stuart Hampshire (Chairman) Miss Thea King Melvyn Bragg (Deputy Chairman) Keith Lester J. G. Ballard George Malcolm, CBE Victor Bonham-Carter John Manduell Alan Brownjohn Professor Wilfrid Mellers Professor C. B. Cox Stephen Plaisto w Martyn Goff Andrew Porte r Dan Jacobson Simon Preston Professor Frank Kermode George Rizza Tom Maschler Roger Smalle y Redmond O'Hanlon Simon Towneley, JP, DL Peter Redgrove Michael Schmidt Committees of the Music Panel : Ian Scott-Kilvert Dance Theatre Sub-Committee Jon Stallworthy General Sub-Committee W. A. Taylor, Mc London Orchestras Programmes Committee Mrs Elizabeth Thomas Jazz Sub-Committe e W. L. Webb Opera Sub-Committee Piano Sub-Committee

4 The following co-opted members serve on one or mor e Adrian Henri of these committees : Oscar Lewenstei n John Allen Andrew Porter Mrs Mary Baxte r Miss Jasia Reichardt Peter Booty Peter Stark Eric Bravingto n Peter Williams, OBE Miss Louise Browne Geoffrey Bush Theatre Touring Committe e Tristram Cary Sir John Witt (Chairman) John Chesworth J. W. Lambert, CBE, DsC John Crisp Professor Roy Shaw Walter Drabble together with representatives from the Scottish an d Roger Eames Welsh Arts Councils, the Regional Arts Associations Miss Jane Edgeworth, MBE and small-scale touring companie s Charles Fox Patrick Gowers Scottish Arts Council Anthony Hedges The Lord Balfour of Burleigh (Chairman ) Peter Katin Dr Cedric Thorpe Davie, OBE (Vice-Chairman) (M) Harold Lawrence Neill B. Aitken (M) Miss Maude Lloyd James F. Arnott, TD (D) Gerald McDonald H. Jefferson Barnes, CBE (A) George Mann J. S. Boyle (M and D) Professor Denis Matthews Walter Cairns (M and L) John Muir Stewart Conn (D) Stanley Murdoc h Professor T. A. Dunn (D and L) Miss Thea Musgrave The Earl Haig, OBE (A) Miss Daphne Oram Douglas Hall (A) David Parkhouse Clifford Hanley (D and L) Tom Petzal R. D. Hunter, MBE (M) Mrs Anya Sainsbury Mrs Moira Kennedy (M) Philip Towell Ronald Macdonal d Richard William s Neil Paterson (L) together with (in the case of the Piano Sub-Committee ) John B. Rankin (D) representatives of the Regional Arts Associations Alan Roger (A) and the Scottish and Welsh Arts Councils Ian McKenzie Smith (A) Ivison S. Wheatley (D) Art Film Committee Thomas Wilson (M) Alan Bowness (Acting Chairman) Edgar Anstey, OBE A =Art Committe e Richard Attenborough, CBE D =Drama Committee Professor Sir William Coldstream, CBE L =Literature Committee Richard Cork M =Music Committee Michael Gill Stephen Hearst Drama Bursaries Panel Douglas Lownde s James Arnott George Melly Richard Eyre Gerry O'Halloran Giles Havergal Sam Rohdie Miss Joan Knight Norman Swallow James Lovell Colin Young Michael Rudman Max Stafford-Clar k Experimental Projects Committee Edward Lucie-Smith (Acting Chairman) Literature Bursaries Panel Melvyn Bragg Stewart Conn Membership of the Council, Committees and Panels (continuer/)

David Fletcher T. Mervyn Jones James Allan Ford Mrs Maureen Owe n Robert Nye Gethyn Stoodley-Thomas Derick Thomso n David Tinker John Wright Publication Awards Reading Pane l Miss Mary Baxter Drama Committee Alastair Borthwick co-opted members : David Buchan Ewart Alexander Andrew Lothian Geoffrey Axworthy Oswald Wyn d John Chilvers Raymond Edwards Art Panel Peter Gil l Miss Ann Henderso n Mrs Nesta Harris Dr David Irwi n Derek Hollins Jack Knox Elwyn Jones Alberto Morrocc o R. Emyr Jones, HMI Mrs Cordelia Oliver The Reverend T. James Jones David Lyn Welsh Arts Council Alderman H. H. Roberts Colonel Sir William Crawshay, DSO, TD (Chairman) (A) D. J. Thomas Alex J. Gordon, OBE (Vice-Chairman) Martin Williams The Marchioness of Anglesey (A) Christopher Cory (M) Literature Committee His Honour Judge Bruce Griffiths, QC (A) co-opted members : Professor Alun Hoddinott (M) Alun Creunant Davies Iorwerth Howells (M) Hywel Teifi Edwards Dr Glyn Tegai Hughes (L) Raymond Garlic k R. Gerallt Jones (L) Dr R. Brinley Jones Charles Langmaid (M) D. Tecwyn Lloyd Professor T. J. Morgan (L) Roland Mathias Henry Nyman (A and D) Dr Thomas Parry Dr Alun Oldfield-Davies, CBE (A and D) Dafydd Elis Thomas Mrs H. M . Ramage (L) Dr Gwyn Thomas T. M. Haydn Rees (M) Professor R. George Thoma s Gareth Thomas (M) Aled Vaugha n Wynford Vaughan-Thomas (D) Harri Webb Clifford Williams (D) Mrs Elsie M . Williams, JP (A) Music Committe e Miss Menai William s co-opted members : Ian Bruce A =Art Committee Alfred Franci s D =Drama Committee John Fussell L =Literature Committe e Alan Wynn Jone s M =Music Committee Glynne Jones Michael Lewis Art Committee Kenneth Loveland co-opted members: Professor William Mathia s Rollo Charles W. S. Gwynn Williams Professor A. Cochrane, CBE Dr David Wynne Mrs Glenys Cour Arthur Giardelli Tom Hudson Robert Hunter

6 Staff

Headquarters 105 Piccadilly, London wiv OAu 01-629 9495

Secretary-General : Sir Hugh Willatt Deputy Secretary-General : Angus Stirling Finance Director: Anthony Field, JP, FCA Art Director : Robin Campbell, DSO Director of Exhibitions : Norbert Lynto n Drama Director: N. V. Linklater, OBE Deputy Drama Director : D. G. Andrews Music Director: John Cruft Deputy Music Director : Eric Thompson Literature Director : Charles Osborn e Adviser for Festivals and External Matters : K. H. Jeffery Accountant: Alan P. Ritchie, AC A Chief Regional Adviser : Nigel J. Abercrombie Information Officer: Ian Lyon

Scotland 19 Charlotte Square , Edinburgh E112 4D F 031-226 6051

Director: Alexander Dunbar Assistant Directors : Mrs Rene Spink (Tours) William Buchanan (Visual Arts) Christie Duncan (Music) Harry McCann (Finance and Administration) Alisdair Skinner (Drama and Literature)

Wales Holst House, Museum Place , Cardiff CF1 3NX Art and General : 0222-32722 Music : 0222-43D55

Director : Aneurin Thomas Assistant Directors : Roy Bohana (Music) William Dufton (Drama) Peter Jones (Visual Arts ) Meic Stephens (Literature) Accounts Officer: D. T. Murdoch

7 Contents

Chairman's Introductio n

11 Secretary-General's Report

27 Membership of Council and staff

28 Scotland

36 Wales

45 Annual Accounts Chairman's Introduction

The Secretary-General's report, which is now presented by the Arts Council, relates to the last yea r of Lord Goodman's chairmanship. During the seven years of his unique leadership the grant-in-ai d increased from £3,910,000 to £11,900,000, but this important expansion of means is altogether inadequat e as a measure of the real increase in the Council' s influence and activity which he accomplished. During this period the Council made remarkable advance s in pursuit of the objectives in its Charter, and he leaves his successor with a formidable challenge t o maintain the pace he set .

Foremost among the assets he has left is an able and dedicated staff, whose enthusiasm and readiness to work at all hours when needed, are most noticeable t o a newcomer. One quality which is most frequentl y found among them is flexibility of mind. I find them the very opposite of the popular conception of the bureaucrat.

Recent years have seen a distinct shift in the allocatio n of resources between London and the rest of the United Kingdom . In the Council's early years the proportion of the grant-in-aid which went to th e national operatic and theatrical institutions had to be large if they were to be supported at all . But as resources have grown, activities outside London have claimed a greater share of the increase, and thi s process must now accelerate if the right balanc e between the capital and the rest of the country is t o be established .

If the national institutions are to continue to be maintained at an acceptably high standard, the spee d with which this balance can be achieved must largel y depend on the rate at which our resources grow. Such resources are not only to be thought of as comin g from the Government. Local authorities and industria l companies are playing an increasing part . To achieve a rate of growth which will allow us to exploit full y the artistic development of the country as a whole , while maintaining intact what has already been s o successfully created - this must be the aim of th e next few years.

PATRICK GIBSON

9 Secretary-General's Report

With this, its 27th Annual Report, the Arts Counci l Rolling Triennium presents its accounts for 1971/72 showing how the It has at last been agreed that the amount of th e money received from the Government was spen t Council's grant-in-aid should be assessed on a in that year. `rolling triennial' basis . In other words, at a certain point in each year the Council will kno w Last year's Report covered a special year (the 25th i n approximately the sum it can expect to be voted b y the Council's history) and attempted a survey of thi s Parliament, not only in the following year, but i n country's achievements in the arts, with the emphases the two years which will follow . Each year an mainly on England, over a quarter of a century ; and indication will be given for one further year ahead , of the Arts Council 's contribution to thos e thus maintaining the triennial time span . It is hoped achievements. What had public subsidy over the that this system will allow for much better plannin g years made it possible for other people to do ? by the Council and by its clients . Were the methods right? The text was later issued as a booklet . Operating costs 5 . 6 per cent of the total grant-in-aid went i n The present Report comments only on the year operating costs . This is a low figure, bearing in min d recently ended . It draws attention to certain present the complexity of the operation and its spread ove r emphases and trends. The period of twenty-five years England, Scotland and Wales . It would be much ended with seven under Lord Goodman's higher if it were not for the help given to the Counci l Chairmanship. Mr Patrick Gibson becam e voluntarily by thousands of people ; directly, in Chairman on 1 May 1972, just after the end of the service on committees, panels and inquiries, and i n year covered by this Report . various consultative capacities - and indirectly, b y membership of the governing bodies of promotin g The accounts summarise d enterprises throughout the country. Most importan t The Council in 1971/72 received from th e here is the continuing response from the artisti c Government a grant-in-aid of £ 11,900,000. The professions. accounts beginning on page 45 show how this mone y was spent. Artists and the Arts Council Most of this Report will deal with finance an d (The sums now quoted, and throughout this Report , administration . There need be no apology for this . are accompanied by figures in brackets showing th e Artistic trends are a matter for the artists . It is fo r corresponding grants in the previous year.) the Council to help to solve the unceasing and always changing problem of the place of the arts i n £1,260,000 (£950,000) went to Scotland and £886,000 our confusing society. It would of course be (£564,000) went to Wales, to be spent as decided by disingenuous to claim that the Council is withou t the Scottish and Welsh Arts Councils . influence in artistic matters. In its continuing partnership with the artistic professions, demonstrate d £770,000 (£580,000) went in cash grants to Housin g by the Panel system and in other ways, the Council , the Arts projects in all three countries . whose funds are limited, has to walk boldly in th e areas of assessment and choice . For all that, the ke y The rest, £8,984,000 (£7,206,000) was spent i n word in any description of its function must b e England . There was at the end of the year a small ,response'- response to other people's efforts. This unspent balance of £ 18,000 (£ 14,000) . may be by way of a contribution, often limited o r shared with other authorities, to supplement wha t The Council makes its allocations before the yea r comes from the paying customer . Response may be begins and pays its larger grants by quarterly o r inadequate, and the Council fails in its task if subsid y monthly instalments, but with a certain flexibility t o to an already supported and flourishing enterpris e meet the needs and changing financial situations o f is kept too low: or if, in the case of a new enterprise , the recipients . The initial allocations having bee n its potentialities are not appreciated and subsidy is made, a fairly small amount is kept in reserve t o refused or inadequate . Response may be in the making meet crisis needs and to enable the Council to respon d of a grant to an individual, the purchase of an artist' s to new developments during the year. work or its selection for exhibition or assistance for the publication of a book . Response includes not only the giving of money, but encouragement, advice

11 Secretary-General's Report (continued)

and help. The Council's function - and here th e country of programmes which include contemporary co-operation of the artists and the artistic profession s works. Performances will be by groups in the different is crucial - is to recognise quality when it shows itself, regions, and will attempt to avoid the over- and to use its resources to help in the development of concentration of this type of work in London, an d that quality. There is, on the one hand, the obligatio n to spread the opportunity for it to be heard. The to sustain what is established, if it continues to mee t success of this network will very much depend on a proven public need ; on the other, to respond to ne w the co-operation of the Regional Arts Associations . enterprises, and at times to see possibilities i n something strange or small . Apart from all this, as the list of grants shows, the Council has operated a large and complex variety o f The need to reach even wider audiences will be th e schemes for the assistance of individual artists . The main theme of this Report . The more effective importance of this cannot be measured by totalling steering of money in the right directions - publicity , the amount of money spent, and comparing it wit h promotion, new administrative structures - thes e the sums given to the opera, orchestras, or theatres. matters are important, indeed essential, if the arts are The whole Arts Council Art operation, involving th e to have a proper economic base and the right positio n running of the Hayward and Serpentine Galleries , in society. the mounting and sending round the country o f exhibitions, the purchase of pictures and th e They are however secondary factors. The most creation of art films, cost in England only £467,000 important are the vitality and quality of the artisti c in 1971/72. The results in artistic terms and in th e work for which all this provision is made . If standards number of people reached is comparable with th e decline, audiences decline . Excellence is rare and not result obtained by very much greater expenditure o n easily achieved, but without the continuing effort an d music or drama . simply because those arts whic h resources to attain it any amount of skilled promotion involve performance are in their nature more will be of no avail . expensive. The same principle applies to the Arts Council's contribution to literature . Without public As to the individual creative artists, upon whom th e money, very little music making at the higher leve l future of the arts in this country depends, the Council's would take place at all . With literature, the case i s first object must be to create the conditions withi n different, although there is undoubtedly cause fo r which they can do their best work . It is often said that concern about the economic position of writers of there is too much emphasis on the performing arts . fiction, for example, and the Council has been giving Performance at a high standard is inevitably costly . special attention to this matter as well as to th e Opera, ballet, theatre, and concerts by large question of translations from other languages . orchestras take place in expensive buildings, involving many people, highly trained and rehearsed, and served The Council's Departmental Structure by a host of specialists. The money cannot all be Most of the Council's work is still done through its found at the box office . But the performing arts giv e Music, Art, Drama and Literature Departments. opportunities to new playwrights, composers, Each has its system of devolution through bodies lik e choreographers and designers, directors, actors and the NFMS, the LOCB, and its links with hundreds of musicians. Recall, for example, the explosive effects promoting organisations and with Local Authorities , on the arts generally of the Diaghilev ballet and the and others who give support. The Council, through opportunities given to Stravinsky, Picasso, Derain an d its functional Departments, is in the main regionally - others. British playwrights in the last twenty years have not London - orientated, and this is insufficientl y contributed something quite exceptional to the understood. Of the total number of grants made, drama of the world, and could not have done s o 90 per cent go outside London . The daily work of unless there had been available a growing number of most Departments, the meetings and the visiting, the permanent theatre companies with the resources to efforts to make ends meet, are devoted to activitie s stage their work, and the confidence to risk failure . outside the capital . The Music and Arts Festivals of this country year by year provide a setting for performance of new or Seven hundred and twenty-five organisations are no w specially commissioned work, aided by special Arts through the departments directly supported compare d Council grants. The Council has during the year with 316 fifteen years ago. planned a contemporary music network which, it is hoped, will provide for the repetition throughout the

12 New methods Policy trends, as shown by the accounts Nevertheless, in the last few years the Council has Comparison of the accounts with those of th e been trying new methods mostly with a diffusing and previous year will show the new emphases. regional aim, developing, but sometimes impinging , upon the functions of the main specialist Departments . Grants to Regional Arts Associations in Englan d Examples have been the Housing the Arts operation , increased from £317,000 to £472,000 (in 1972/73 the touring schemes like Dalta, the organising of visits figure has risen to £700,000) . by the major companies of Opera, Ballet and Dram a (the Welsh and Scottish Opera Companies included ) Expenditure on touring in England went up from throughout Great Britain and a smaller and growin g £ 189,000 to £340,000. (In the current year, it will b e scheme for tours by smaller companies and groups nearly half a million pounds .) The increase to some of artists of many types, the encouragement of mor e extent follows from the transfer of subsid y Art and Music Festivals, the Experimental Project s responsibility for touring from Drama and Musi c Committee, and very particularly the developmen t Departments to the Council 's DALTA organisation , of Regional Arts Associations . but even allowing for this, in terms of money and in touring weeks the growth is substantial - from To further these developments and at the same tim e 162 to 188. fully to maintain the contributions, financial and otherwise, of the Council's Music and Dram a Contributions of cash to Housing the Arts projects i n Departments, to the organisations supported - thi s England increased from £443,000 to £618,000 . for the Council is no easy problem . It is not only a Nearly all the buildings will be outside the Londo n question of finance, though of course, more mone y area. would help development in both directions . It is also a functional problem . The Music and Dram a Grants to Festivals increased from £42,000 to £53,000 , Departments must continue to receive a prope r and to arts centres and arts clubs from £35,000 t o proportion of the Council's resources. For the major £62,000. orchestras, and the companies of theatre, opera an d ballet in the regions, as well as in London, the butte r To these figures must be added the increased amount s must not be spread too thin . The Departments must given to organisations promoting drama and musi c also, in appropriate cases, preserve their links wit h outside London. For drama, the increase was £298,577 , the organisations they exist to serve . going mainly to assist the development of the regional companies. Musical activities received an additional There is an artistic reason for this . The Departments, £220,372, partly in the form of direct subsidy to the with their specialist Panels and Officers, can provide a t major orchestras and other promoting bodies, an d national level a service on which the supported partly indirectly through the National Federation o f organisations rely. Of the new structures the Regiona l Music Societies . (The increases under these heads Arts Associations can also supply a similar service at a amount to 26 . 5 per cent and 21 . 2 per cen t regional level. The other new structures, dealing with respectively.) touring, Housing the Arts, Festivals, and the rest, no t only rely on the Departments and the Panels in matter s Four themes of assessment and quality, but look to them also, an d In the year's work four themes have been prominent : to the Council's Finance Department, for advice o n (a) the need to reach more audiences, (b) administration the business aspects of artistic promotion. and publicity, (c) touring (particularly touring o f opera) and (d) Regional Arts Associations . Most of what follows deals with the new trends - the emphasis on regional development and the effort s The four themes are really linked in a single emphasi s to reach a wider public . But possibilities in thi s on the second of the Council 's functions under it s direction are dependent on the continued functioning Charter - to increase the availability of the arts ; a of the Council's major specialist Departments and stretching out by the Council's clients and by the the artistic result for which the Council's resource s Council itself to reach more people . are provided . Audiences and attendances How many people in Great Britain really are affected ? Is the number growing? Accurate answers are not

13 Secretary-General's Report (continucd )

easy, but there are some pointers . high cost of product of quality and the need to mak e that product widely - and therefore reasonably The first is the number of organisations directl y cheaply - available. A repertoire system for opera, subsidised. In 1971/72 the Council gave grants to theatre or ballet, with the regular insertion of new 725 (666) organisations in Great Britain promotin g productions, makes for quality and serves the public, opera, ballet, theatre, orchestras, as well as to ar t but is costlier than a commercial system based on lon g galleries, festivals and arts centres . runs. With a long-run theatre system there are, on th e other hand, more failures - often with heavy losses The second is the number of organisations subsidise d - than successes. All of the items in a repertoire cannot indirectly . 1,083 (1,073) concert promoting bodies be equally successful and there must be a freedom t o benefited from guarantees through the medium of the take risks . The public must be given the opportunity National Federation of Music Societies, and Regional to see and hear new work, even if this is not Arts Associations now covering nearly all Englan d immediately popular. Our artistic future depends (Greater London included) and Wales were helped on this continuing refreshment. to subsidise and encourage a range of activities on a wider and more local scale. Despite all this, the Council believes that there are seats empty which, with better promotion methods , Thirdly, there is the Council's directly promote d could be filled, and that the audience contribution t o work : three Opera for All companies touring Great the total cost requires consideration . These matters, Britain, two art galleries in London (the Hayward and as will be seen later, have had special attention the Serpentine), the mounting of exhibitions shown i n this year. galleries all over the country, the purchase of work s of art, the making of art films and the film tours, Some theatre companies began to feel the draugh t grants to writers, writers' tours, and dozens of somewhat, because of unemployment and less money schemes for training, awards and prizes, includni g in the pocket. In total, however, their box office taking s the administration of a number of separate fund s increased. Seat prices often had to be raised, bu t for these purposes . economic pressures gave an extra fillip to an alread y existingeffort to reach new audiences and to do thi s All this reaches, and involves, many people in man y in new ways . The methods of the old style theatre places. manager or concert promoter, posting his bills, inserting his press advertisements and waiting fo r What is the measure, first, of the audience reache d box office results, begin to seem out of date . Because by the 725 organisations directly receiving grants ? most of the organisations supported by the Counci l The first fact is that they all continued to keep alive : have grown from local roots, they are involved i n and this, despite subsidy, is by no means a foregon e the life of their communities . The supported theatres conclusion . All are operating businesses . Entertain- particularly provide a wide range of activities in thei r ment business in the subsidised as well as the purely often new buildings in addition to the evenin g commercial sector is notoriously a chancy affair . performances, and co-operate with others runnin g Their credit balances - in a few cases small deficits - an art gallery or organising concerts or films . Here at the end of the year resulted from box office taking s are good ways of making a wider impact on th e covering 90 per cent or more of the cost of operatio n community. Large and important new theatres were (Chichester, the Royal Shakespeare Company a t opened at Birmingham and Sheffield during the yea r Stratford and a number of Festivals) to as low as 50 and the result in each case has been an increase i n per cent (Royal Opera House and a few opera, balle t audiences, in Birmingham substantial, in Sheffiel d and drama companies) . Subsidy from the Arts Council , as yet less so . from Local Authorities and other sources, provide d the rest. The Council's art exhibitions in London during 1971/72 attracted attendances in the region of 290,000 But a high rate of subsidy did not necessarily mea n and the varied and important programme is include d low audiences . The Royal Opera continued to fill th e in the list of exhibitions on page 68 . The Hayward house to 90 per cent of capacity . Not many other Gallery has not maintained the very high level o f full-scale opera houses in the world operating all th e attendances attracted by one or two of the exhibition s year round meet half the cost of their work fro m arranged in the opening year. Naturally there are the box office. The subsidy need is determined by the many tens of thousands of people who wish to visi t

14 an important Van Gogh or Matisse exhibition . The Orchestras Hayward Gallery cannot year by year arrange The experience of the nine symphony orchestras exhibitions of this popularity, nor perhaps is that it s subsidised by the Council was during the yea r proper function, except from time to time . Attendances particularly encouraging . So far as London i s there during the year were 114,000. On the other hand, concerned, the average attendances for concert s attendances at the Serpentine, the other Londo n subsidised by the Council and the Greater Londo n Gallery operated by the Council in Kensington Council through the London Orchestral Concer t Gardens during the summer months, show a Board, which had for a number of years remained a t substantial increase . Exact figures are not availabl e the satisfactory average of about 77 per cent of because no charge is made for admission bu t capacity, showed a very marked increase . Figures are attendances there during the seven months for whic h not available for all the orchestras, but each of the m the Gallery was open are estimated at more than shows a substantial improvement. For one of them , 100,000. This result was encouraging enough to the London Philharmonic Orchestra, availabl e persuade the Council to keep the Serpentine open for figures show attendances at 90 per cent of capacit y a longer period each year in future. The necessary for all concerts at the Royal Festival Hall, with a n heating and lighting installations should be complete d average for all concerts at an even higher figure . during 1972/73 so that the Council will be able to promote an extended season of exhibitions ther e `Sold Out' notices at the LPO's concerts outside during 1973/74 . London were the rule rather than the exception .

Festivals So far as the regional orchestras are concerned , Attendances at music and arts festivals receivin g full figures are not yet available, but clearly th e Council grants passed the million mark for the first metropolitan increase was reflected in many other time this year. The number of supported festival s towns and cities . The Royal Liverpool Philharmoni c was thirty-five . These are interesting figures, recallin g Orchestra, for example, had a record year fo r that in the years between the wars the Three Choirs attendances, and therefore a substantially improved Festivals Malvern, and a few more, made up the financial position . Concert receipts produce d Festival total. Few European countries have a £19,000 above the budget estimate . comparable number . If sometimes from Piccadill y the Festival scene looks a little crowded, the vie w In the Council's 1969/70 Annual Report there was a may well be different in Bath or Nottingham , brief reference to the Orchestral Resources Inquiry, Newcastle upon Tyne or Cheltenham, Harrogate o r chaired by Professor Alan Peacock, whos e Stroud, Brighton or York . Each of these Festival s comprehensive and detailed survey was completed is, like many others, individual in its colour and the in April 1970, and published in July 1970, after th e result of intense local effort and enthusiasm. The cost, Council had considered it fully and carefully . Some of incidentally, in terms of Arts Council subsidy, i s its recommendations have already had some effect ; small - £209,288 (£ 190,904) in total, with no festiva l others, and especially those of very far-reachin g in England normally receiving a guarantee in exces s character, are continuing to influence the Council' s of £6,000. Many towns, of course, use their local and thinking and its evolving music policies. Certain already subsidised resources - a theatre company, a n particularly important recommendations are again orchestra or art gallery - for festival contributions , receiving special attention . but these short and intense efforts on a special scale with visiting performers of exceptional quality clearly The largest organisations win a great audience response, mainly local, thoug h For three of the four largest clients of the Council , with a national and sometimes international element. audiences increased . Most notable, perhaps, was the And the official audience figures do not tell the whol e success of Sadler's Wells, who showed during the yea r story. They take no account of unofficial and fringe that, in style and repertoire, as in drawing capacity, performances, street events, and broadly popular they were now well adjusted to the opportunitie s features on a mass scale, all generated by the festiva l given by their large and centrally located home in the itself, like the `anti-festival' which accompanied the London Coliseum . They greatly increased thei r official events recently in Bath.* public for opera in English at popular prices. Apart from touring they gave in that large theatre 18 5 performances to total audiences of 328,000 *A list of Festivals in Great Britain is available from th e Council's Publications Department, price 15p . representing 75 per cent of capacity . The greatly

15 Secretary-General's Report (continued )

regretted and comparatively early death of Stephe n like Opera For All, Ballet For All, and the work of th e Arlen robbed him of the pleasure of seeing his smaller scale opera companies such as the Englis h ambitions for the organisation, for which he worke d Opera Group, Phoenix and Basilica, the Londo n so hard and so long, crowned by the public's larg e seasons and tours of Ballet Rambert, Londo n and increasingly enthusiastic support . Contemporary Dance Company and Northern Opera . There is a new growth of small drama companies and The Royal Shakespeare Company played to recor d groups visiting theatres, halls and universities all ove r numbers, giving at Stratford-on-Avon 29 2 the country . The Council has now produced a performances to 402,000 people, representing 96 pe r publication called `Groupvine', giving a list an d cent of capacity . In other words, there was seldom description of what is available . It covers drama , an empty seat for a nine-month season, with foreig n music, dance, art exhibitions, writers' and artists ' tourists accounting only for a minor proportion . tours, entertainment and artistic provision of al l Except in the height of summer, the audience come s kinds, by no means confined to Arts Counci l mainly from the huge population of the East an d subsidised enterprises. Accurate audience figure s West Midlands. At the Aldwych Theatre in Londo n would be difficult to obtain, but the public served b y the Royal Shakespeare Company played to a furthe r this developing network is certainly growing. 268,000 people, representing 80 per cent o f capacity. British Rail - Music and Theatre Lin e A somewhat unexpected, but extremely welcom e At Covent Garden the figure once again showe d newcomer to the arts sphere during 1972 has bee n 90 per cent of capacity for opera performances, wit h British Rail. 92 per cent for ballet, with by no means stereotyped programmes. The touring attendances for the Roya l Music and Theatre Line, a novel scheme, providing Ballet group, however, were not so large . seats at London's leading entertainment centres, combined with rail travel from the provinces, ha s The National Theatre decision to run a lengthy firmly established itself in a wide area of Souther n season at the New Theatre as well as at the Old Vi c England, while similar ventures at provincial centre s was a further attempt to serve a wider audience . are also being developed . Although the result was not as successful as had bee n hoped, the total audience for both theatres was `Journeys Through Music'- imaginative new musica l 388,000, with a further 75,000 at the Young Vic. teach-ins arranged in conjunction with the Royal Philharmonic Orchestra and Antony Hopkins, were These figures show for the four largest organisation s for people of all age groups . They twice filled the supported by the Council total audiences during the Royal Albert Hall to capacity, and, in view of their year approaching two million people . success, a further six have been planned for the 1972/73 season. The Welsh National Opera Company gave forty-eight performances in Wales, attended by 44,000 people , Publicity and administration and forty-eight performances in England, attended During the year under review, special efforts hav e by 55,000 people . been made to deal with these questions in fou r ways. Scottish Opera gave sixty-nine performances i n Scotland, attended by 73,000 people, and twenty Publicity performances in England, attended by 17,000 peopl e This question has loomed large in the Council' s work during the year. Could more effort be made to The small scal e draw the attention of the public to what is going on , Last year's Report drew attention to a trend toward s and not only that, but to market the events fo r smaller scale methods as part of a wider movemen t artistic enterprises in a more attractive, sophisticated away from the traditional forms of promotion and manner? Are supported organisations doing enoug h presentation to the public, typified by the four large by way of promotion? Can the Council itself provide organisations last described . some practical help in these matters, and how fa r should the Council's own activities be publicised, o r This trend represents a particular effort to reach ne w should the spotlight mainly be directed on the audiences. Efforts continue in long established forms independent organisations which it supports ?

16 Some of these questions were considered by a for performances in London and outside it . Its Committee of Inquiry set up by the Council early i n appendices include a great deal of statistical detail . the year under the Chairmanship of Sir Joh n Pope-Hennessy, and including in its membershi p Arts administratio n (apart from certain Council members) Mr Charle s The Council's Committee of Inquiry into the trainin g Wintour, the Editor of the Evening Standard, Mr of arts administrators presented its Report to th e John Higgins of The Times, and Mr Huw Wheldo n Council in October 1971 and this has since bee n of the BBC. Its purpose was to investigate the rol e published .* of the Arts Council in publicising its directly promoted activities (meaning mainly its art exhibi- Professor Roy Shaw chaired the inquiry into th e tions) and also those of its beneficiaries . Its recommen- requirements for the professional training of art s dations led to the establishment of a new post o f administrators in Great Britain, to consider an d Information Officer . Mr Ian Lyon, who was appointed assess the courses at present undertaken in this field to fill the post, will for the time being concentrat e and to make recommendations concerning the best mainly on publicising exhibitions at the Haywar d fulfilment of these requirements in the future . The Gallery and the Serpentine and at a large number o f Council decided to initiate this Inquiry after reviewin g other galleries in London and throughout the the results of the one-year Arts Administratio n country. He will also be concerned, and perhaps Courses which commenced in September 1967 at the increasingly, with the Council's own activities an d School of Management Studies at the Polytechnic o f possibly those of certain of its beneficiaries . So far as Central London . This Diploma Course, together wit h these last are concerned, the work could clearly b e the Council's short courses in Theatre Administration , linked increasingly with what is already being don e did pioneering work in this field, and it was encouragin g by the Regional Arts Associations who already very to read that similar courses were being established i n effectively, and particularly through the medium of France, Canada, East Germany, Italy and the USA . their regular bulletins, draw attention to th e interesting things which are going on in their respectiv e The Report recommended that the Arts Adminis- areas. tration Course should continue to be based at th e Polytechnic for a period of three years from 1972/7 3 The Committee of Inquiry into Films (under the and thereafter on a `rolling triennium' basis . In Chairmanship of Richard Attenborough) which di d addition, recommendations are being implemented to not begin to meet until after the year under review , appoint a Course Director and a Management is considering, among other questions, the extent to Committee who will review the curriculum, th e which film-making and video recording should b e balance of academic study, periods of secondmen t used in giving to a wider public information about and the examination syllabus . the activities of the Council and the work of it s supported bodies . Further, the Report pointed out the need for research into arts administration and the relevance of this t o Seat prices academic disciplines . Increase in audience and attendances and the sprea d of interest in the arts are obviously affected by the In addition, short training courses on general and cost of admission. A Committee of Inquiry was se t specialised aspects of theatre and arts administratio n up at the end of 1970 to investigate this matter i n will be held so that people already working in th e relation to the performing arts . Its Chairman wa s arts can attend either on a full-time basis or fo r Mr Aubrey Jones and its members included M r isolated aspects of the syllabus. It is hoped to be abl e Donald Albery, Sir John Clements, CBE, Mr John to organise this by planning `linked' weekend course s Denison, CBE, Mr Douglas Morris, Professor C . A. on a residential basis, both in London and i n Moser, CBE, Mr T. J. Pyper, Mr Derek Salberg , regional centres . OBE, JP, Mr Hugh Jenkins, MP, and Mr George Singleton, CBE . The Report was recently received by Finally, it was hoped that the Institute of Municipa l the Council and is now under consideration by th e Entertainment, the Museums Association and th e Panels and other bodies before the Council decid e Library Association would continue to co-operat e on any action to be taken. The Report drew attention increasingly with the Council to avoid any duplicatio n to certain inconsistencies and discrepancies, an d * The Report is available from the Council's Publications particularly to the still very wide gap between prices Department, price £1.00.

17 Secretary-General's Report r < onlu c d

of training efforts . artistic worth'.

The first meeting of the new Management Committee Messrs Peat, Marwick emphasise that their Report is was held in May 1972 under the Chairmanship o f more concerned with possible weaknesses than wit h Professor Roy Shaw, and a Course Director will soon lavishing praise . It is therefore important to set thei r be appointed . comments against the immense difficulties associated with the managements of large artistic enterprises wit h Peat, Marwick Report limited financial resources during a period of spiralling In August 1970 the Arts Council of Great Britai n costs. The consultants have `no hesitation in saying commissioned Messrs Peat, Marwick, Mitchell & that, in the main, the directors of these theatres hav e Company, the management consultants, to revie w been remarkably successful in meeting the problem s the operations of the Royal Opera House, Covent of rapidly increasing costs without lowering thei r Garden Limited, Sadler's Wells Trust (Coliseum) artistic standards' . Limited, the National Theatre Board and the Roya l Shakespeare Theatre . The review was completed an d The importance of such a survey is two-fold ; firstly, submitted to the Council in January 1972 as a main its detailed reports give methods of reducing an d report and four supplementary reports each dealin g controlling costs and increasing income ; secondly, it with one of the individual companies. The pattern of attempts to assess future trends. This last is difficult present and future costs was considered, with a study because of changes of premises ; the National Theatre of comparisons of the ways in which production , moves to the South Bank, which will have two theatres , pre-production and administrative costs can b e in 1973; the Royal Shakespeare Company is due t o controlled. The Report puts forward proposals fo r transfer its London operation to the Barbican art s cost savings and organisational improvement s centre in 1977 ; and the Royal Opera House has following many long discussions with the staffs o f proposed a redevelopment of its existing site, possibly these companies as well as with officers of the Art s incorporating a second and smaller theatre . Council . The study considered ways of controllin g costs and tried to identify areas of potential cos t Although the Report identifies areas where costs ca n savings, without affecting the artistic standards of the be reduced, the savings are to be achieved only once , theatres concerned . The consultants say that it is their and do not in any case amount to a large percentage . impression that these four theatres could, like any A normal commercial enterprise has more scope fo r other company, save costs in certain areas and improv e mitigating the effects of inflation by increasin g some aspects of their control procedures . However, productivity . This is not possible when the enterprise they are satisfied that the theatres are already very promotes the performing arts . The Report confirm s cost-conscious, and the general quality of th e this, but does however give consideration to th e management, which is of a reasonably high order, opportunities to increase revenue . It refers to a should ensure continued vigilance in the exercise of reluctance to be vigorously commercial abou t the necessary financial and other controls. seat-pricing . Increased revenue could however com e from more performances of each item in a repertoire If all the recommendations are taken up an d and from commercial exploitation of certai n implemented energetically by the four managements , productions. There is a recommendation that th e savings overall of up to £200,000 per annum can b e Companies should approach private and commercial expected . This figure of maximum feasible savings sources for donations. should be put in perspective against the total turnover of the four companies amounting to ove r The Report notes that there is little sign of an y £71 million in 1971 /72 (i.e. less than 2 . 7 per cent). slowing down in the rate of inflation affecting salaries , wages and fees . Future trends in the shortfall betwee n The main and general conclusion was that the only earned revenue and expenditure will depend largel y way of achieving any substantial saving in the futur e on the extent to which box office receipts can keep pattern of subsidy would entail `changes of s o pace with the continuing rise in costs. Taking fundamental a nature that the present artistic arbitrary increases in costs of between 7 per cent an d policies and standards of the four companies woul d 10 per cent, and assuming that income from the bo x be severely compromised . . . and it might be better office matches this increase, the Report reaches th e for one or more of them to close down rather tha n conclusion that the shortfall between the two can b e attempt to carry on with an activity of minimal expected to increase at the same rate . This forecast

18 Regional Arts Association s

MID PENNINE ASSOC. FOR THE ARTS pop•0•E

GREATER LONDON ARTS ASSOC. Pop. 7-4m .

PROPOSED SOUTH EASTER N ENGLAND ARTS ASSOCIATIO N pop, 3•1m.

19 Secretary-General's Report (continued )

would result in a combined shortfall for the fou r for the work of the Associations, justifying the theatres concerned (amounting to approximately Council's policy over the last four or five years o f £3 . 6 million in 1971/72) rising to between £5 million building up the Regional Arts Associations in and £5 . 8 million by the end of the next quinquennium . partnership with the Local Authorities . The partner- This conclusion has of course important implication s ship, though varying in strength and effectiveness not only for the companies themselves, but for the from region to region, gives promise now of becoming Arts Council and for the public who pay at the bo x more effective as it becomes more conscious an d office. deliberate.

Regional Arts Associations Some interesting developments during the year are Regional matters and the role of the Regional Arts worth mentioning, if only because they represen t Associations were very fully discussed in the las t attempts by the Associations to reach larger audiences . Report. The deployment of an increasing proportio n For example, a number of Arts Associations hav e of the Council's resources to further regiona l formed small-scale professional theatre groups, to tour development has been mentioned earlier in thi s within their respective regions . There are about half a Report, particularly in relation to Housing the Arts dozen of these now, and there have necessarily bee n projects, Festivals, touring, the increase in grants t o teething troubles and one or two relative failures, but regional theatres and orchestras, and the quite rapi d the overall picture is one of successful growth . In increase in the grants to Regional Arts Associations several of the regions the extraordinary success of the themselves . scheme of assisted or subsidised travel to theatres, concert halls, etc . which is now operated by every The progress and activities of the Associations are of region, has become almost an embarrassment . This course described in their own Annual Reports . Here, a means that high quality professional entertainment , summary of the total situation may be interesting . whether theatrical or musical or otherwise, has benefited from substantially increased audiences . The In 1968, when the Council established the post of fact that the assisted travel schemes are beginning t o Chief Regional Adviser and set up a small office to cost more than can conveniently be included in the provide a direct and continuous liaison with each budgets of the Regional Arts Associations is a sign o f Regional Arts Association, there were seven healthy growth, no matter how inconvenient . Associations, to which the Arts Council (and in on e case the Welsh Arts Council) made grants totallin g The year was marked by a debate in the House o f £ 185,000. There are now, or shortly will be, fourteen Lords introduced by Lord Feversham, the Chairma n Associations, and the Art's Council's allocation i n of the Standing Conference of Regional Arts 1972/73 amounts to some £700,000 in England an d Associations, in the course of which many valuabl e £25,000 in Wales . and constructive suggestions were made . Quite clearly the Associations, although rightly jealous of Almost all of England and Wales is therefore now their independence, look to the Arts Council for a served by a Regional Arts Association . As may be closer partnership than that which exists between th e expected, their development has not proceeded at a n Council and other subsidised organisations . Although even pace throughout the country . The extent of their respective methods of working are often very Local Authority backing, the size, the geographica l different, and the Associations are able to provid e character, and the history of the area, the population , help to a range of activities somewhat wider tha n the transport conditions, the existing arts organisation s those supported by the Council, there is a basic and local resources of every kind, have all played a similarity of purpose and a shared belief that out of part in determining the precise function of each this could grow a more potent source of energy Association and the success it may have in carryin g directed towards the arts than exists at present. On out that function. the one hand the Council could make better use o f the Arts Associations' more intimate knowledge o f Nevertheless the movement as a whole is larger , the people and cultural activities in their own regions ; stronger, and more effective than it was four years on the other hand the Associations would like to fin d ago. The year under review, therefore, saw the in the Council an increasing creative initiative whic h completion of a stage in this important development. would supply them with information, the fruits o f It was a year of increased financial support and co - experience, research and expertise not readil y operation from Local Authorities all over the country available to them locally.

20 The practical suggestions for the furtherance of these response from the Regional Arts Associations , ends, which begin to emerge from discussions whic h evidenced by the interesting Royal Court scheme i n preceded and followed the debate, are for the provisio n Liverpool . from Piccadilly of a number of services, coming mostly under the description of research and information ; The total result has been a growth in touring weeks in three main categories : from 162 in 1970/71 to 188 in 1971/72 . The Dalta 1.research into the demand and market for art s scheme has been the subject of regular consideratio n events ; by the Council during the year, and by its Theatre 2. research into the work of all relevant Touring Committee, which includes a number o f organisations in the arts field, both in the Unite d representatives from the Regional Arts Associations . Kingdom and abroad ; Proposals are now being considered to enable Dalta , 3. technical and specialised research . while still remaining a part of the Arts Council, to have a greater degree of independence as a working unit . Research and information would be a two-wa y Everyone agrees in principle that Dalta should be give n affair. The regions could increasingly supply informa - more `teeth' and a greater power of direction . This can tion about the life of their areas, which would be of only slowly be achieved, but there should be no doubt great value to the Council in its work for supported of the intention to obtain for the people of our large r organisations with which it retains direct contac t towns and cities a properly co-ordinated number o f and a major responsibility . touring visits at the right time and in the right, bu t limited, number of theatres . Local response received s o As to publicity and promotion, the Regional Art s far is encouraging . The quality of the theatre buildings Associations provide an opportunity for the dis- visited is important if local populations are to see semination on a wide scale of information about performances at the same standard as in London . artistic events in their areas . Their monthly bulletin s Here local initiative and willingness to spend money are already of great value here, but they would like t o on these theatres, many of them old and ill adapted be able to consult the Arts Council when there are for opera and ballet, could be a deciding factor. specific problems on which it would be useful to hav e advice from an independent expert authority . Opera The Council gave special attention this year to opera , It is hoped that by the time the next Report appears , which at present absorbs about one quarter of th e considerable progress will have been made in thes e total annual grant-in-aid . The Report of the Council' s matters. Opera and Ballet Inquiry, published in 1969, high- lighted a number of important long-term development s Touring and the Opera Situation in this field, including the need for new opera house s The year saw a further development of the Art' s in Edinburgh, Manchester and Cardiff. In the Council's Dalta operation . Two years ago the meantime, the major opera companies continue to Council appointed Mr Jack Phipps to operate, wit h thrive. With the Scottish and Welsh Oper a a small staff, a scheme for organising touring, mainly Companies especially, playing a greater role in th e to the large theatres in the bigger towns and cities, provision of opera in England as well as in thei r by companies of opera, ballet and drama . The larger home countries, there is an increasing need to plan centres of population need and demand visits, from th e ahead the resources that can be made available t o major opera, ballet and drama companies . The need them, while at the same time keeping the overal l for touring by smaller companies and the repertor y expenditure on opera within reasonable limits . theatres, except perhaps on a local basis, is not so clear , bearing in mind the regular work of the importan t The Council therefore set up a small Working Party regional theatres . Present Council policy is to consisting of officers from the Scottish and Welsh Art s confine Dalta touring mainly to the organisations o f Councils as well as from headquarters, to review th e national and international standing, with perhap s provision of opera in Great Britain, and in particular , occasional participation from a commercially to examine whether the resources available were operated company . being used to the best advantage . The main concern of this survey was the provision of opera in the regions . Touring is expensive and the increase in mone y How could this be increased? How much touring wa s available to the Dalta organisation to promote thes e feasible, by which companies and in which theatres? visits has already been mentioned, as has the What was the level of subsidy required, given that a

21

New Theatre Developments

Birmingham Repertory Theatre

~~~ .--r_ ~ w- ~+-~..+-~ ,--~-• rte.. . 4 ~•~~~~ 4~ ` ~, 1, ` ~,.

VOW

1 R''i"OIL- 4 Crucible Theatre, Sheffield

I w in

23

Open stage production, Colchester Proscenium arch production

Mercury Theatre

\ J ` J t; xr

24 Theatre RoYal Bristol

Derek Balmy,

Syr' ~ .

00000000000

Derek Balmer

25 Secretary-General's Report (continued )

primary aim must be to enable the national companie s to maintain their high standards, notwithstanding the pressures on them from rising costs ?

The Council will use this Report as a basis fo r continuing debate on these important questions . The Report itself dealt with them according to two time scales : priorities were first suggested over the perio d of the next five years ; and secondly, beyond that, taking into account the new circumstances which ar e likely to arise when certain major projects - fo r example, the new Edinburgh theatre - are realised .

While the priorities will no doubt need to be subjecte d to constant scrutiny, it has already been possible , following the Report of the Working Party, to concentrate on a number of the most urgent problems . It is hoped, for example, that the Council will be in a better position to assess the needs of the major opera companies outside London well in advance of thei r touring plans, and to ensure adequate subsidy , through the Council's touring agency, Dalta, t o enable these companies gradually to increase their touring programmes.

Conclusio n This Report has described the Council's recen t attention to its obligation to make the arts availabl e to more people . There remains the first obligation in its Charter which is to `the practice of the arts', to standards, and to quality . There is really no conflict here. Wider audiences are not likely to be reached unless the artists have something to communicat e which is alive and relevant, sometimes strange an d disturbing. The arts cannot, by blueprints or plans, b y subsidy or business promotion methods, be legislate d or coaxed into existence . It is the Council's function to give some necessary resources and encouragement whenever and wherever quality reveals itself, and t o make the results available to as many people a s possible.

26 Membership of Council and Staff

Chairman Council (CBE) For purposes of the official record mention should be Miss Mary Endacott, Records Officer (mm) made of the fact that Lord Goodman retired fro m office on 30 April 1972 and was succeeded by M r Obituaries Patrick Gibson. Tribute was paid to the retiring We record with deep regret the deaths of Ceci l Chairman, and a warm welcome extended to hi s Day-Lewis, CBE, the Poet Laureate, and Professor successor, in the last Annual Report . David Talbot Rice, CBE, TD . Mr Day-Lewis served o n the Council from 1962 to 1967 and was the first Council Chairman of the Literature Panel . Professor Talbot The following members retired from the Council o n Rice was a member of the Scottish Arts Counci l 31 December 1971 : The Hon Michael Astor, Frederi c (formerly the Scottish Committee) from 1962 to 1970, R. Cox, OBE, Hugh Jenkins, mtr, Professor Frank and served on the Arts Council of Great Britain from Kermode, Dr Alun Oldfield-Davies, CBE. In addition 1964 to 1967 . the following submitted their resignations : Professor Lawrence Gowing, CBE (February 1972), The Earl of Harewood (April 1972) . We extend our thanks to all those retiring, and are glad to record tha t Dr Oldfield-Davies will remain a member of the Welsh Arts Council, and that Mr Jenkins and Professor Kermode have agreed to serve as member s of the Drama Panel and the Literature Panel respectively.

The Minister appointed the following new members of the Council : The Marchioness of Anglesey Lady Casso n The Viscount Esher, CBE Sir William Glock, CBE Mr Stuart Hampshire Professor Denis Matthews The Hon . Sir Leslie Scarman, OB E Professor Roy Shaw

Staff Mr Ian Lyon took up the new post of Information Officer in May 1972 . While the major part of Mr Lyon's work will be the handling of publicity arrangements for the Council's art exhibitions, he will also be responsible, under the Secretary-General, fo r advising on the Council's publicity and information services as a whole.

Honours We offer our congratulations to the following o n whom Honours have been conferred in the year 1972: New Year Honours Hugh Willatt, Secretary-General (Knight Bachelor) Birthday Honour s The Lord Goodman, Chairman of the Council unti l 30 April 1972 (CH) Colonel William Crawshay, DSO, TD, Chairman of the Welsh Arts Council (Knight Bachelor) Ronald Mavor, former Director of the Scottish Arts

27 Scotland

Introduction Arts Council's policies are directed towards achievin g A new opera house financed, a new arts centre the objectives laid down in the Charter, that is to opened ; the Scottish National Orchestra's twenty-fift h say : `to develop and improve the knowledge , season, Scottish Opera's tenth ; a decision to enter the understanding and practice of the arts, and to increas e Common Market and a re-organisation of local the accessibility of the arts to the public throughou t government; and for the Scottish Arts Council, a ne w Great Britain'. chairman, a new director, and new offices . These highlights make this report more than a record of th e Because Scotland is a nation with its own nationa l Council's work in 1971/72, for its work in one year i s consciousness and its own cultural heritage, th e the result of past policy and the springboard for polic y Scottish Arts Council has been given autonom y in the future. One of its three objectives in its Royal within an agreed sum of money to decide its own Charter is `to advise and co-operate with Department s policies and fix its own priorities. Decisions about of our Government, local authorities and other bodie s the arts in Scotland are taken in Scotland . on any matters concerned whether directly o r indirectly' with the arts . The Council's work must Its primary duty is to the public and its subsidies t o therefore be seen in the wider context of Scotland' s the artistic institutions it supports are justified only i n social and economic development both now and i n so far as those institutions provide a service to th e the future. public. While much of the Council's work reflects and encourages Scottish cultural traditions, art is a Government and local government are rightly great international language . People who live i n concerned with essential services : employment , Scotland have as much right of access to the art of the housing, education, communications, and the world as anyone else . The periods of Scotland' s environment. But public expenditure on jobs, houses , greatness have been periods when Scotland saw itself schools, roads and amenity makes sense only if a as part of Europe, or as part of the then know n small fraction - and in spite of Jennie Lee and Lord world. Eccles it is still only a small fraction - of public expenditure is devoted to leisure : the arts, But the Council also has a duty, no less important entertainment, sport and recreation . What are for being secondary, of trying to help artists, for people being educated or working for, unless it is to without them there would be no art . It should help improve their social and economic conditions ? artists in Scotland not because they are Scottish bu t And what is that improvement worth, if it i s because they have talent . This the Council has done . measured only in terms of money, houses, cars and The list of Awards to Artists on page 52 record s television sets? Any arts council, and especially on e commissions, bursaries, awards and special grant s which is the Government's agency for distributing given to sixty-three individuals - composers, public funds in support of the arts, must believe that conductors, playwrights, directors, designers, painters, the arts represent not only the achievement of the sculptors, and writers. A great many more - especially past but a living tradition of experience for ordinary musicians, dancers, singers, and actors - are helpe d people, giving them in varying degrees opportunitie s through the Council's grants to orchestras, oper a for delight, insight, and understanding of life itself ; and ballet companies, theatres, arts centres, etc . and must try to see that the artist not only has a role in society but has conditions in which it i s Finance and policy possible for him or her to work in freedom . In 1971/72, Scotland received a basic £1,161,000 fo r revenue purposes compared with the previous year' s That this belief is now widely accepted in the council s £932,000, being an increase of 2 4 . 6 per cent. Its share of Government and local government and in som e of the British allocation was 10 . 87 per cent. In board rooms, not only in Britain but also abroad , addition it received £75,000 for Housing the Arts , means that the arts are no longer a luxury for an elit e £73,862 for Scottish Opera's deficits, and £25,00 0 but an opportunity for all, no longer the Cinderella o f towards the purchase of premises in Glasgow . the Estimates, but a growth industry as an essential part of an acceptable standard of living . The Council is grateful for this increase which was valuable in itself and a sign of the growing importanc e The Scottish Arts Council is not a Council for of the arts in our society . It enabled the Council t o Scottish arts but an Arts Council for Scotland . Being finance existing activity at a time of increasing costs , part of the Arts Council of Great Britain, the Scottish sustain the momentum of increased activity in some

28 fields; and to help a number of new projects. Scottish Opera's emergency appeal . To this extent , the balance between the three providers for the othe r With inflation and rising costs, orchestras, opera an d eleven projects is even less flattering to local authorities ballet companies, theatres, art galleries, exhibitions , and the private sector. magazines, festivals, art centres, and arts clubs need extra help to continue presenting the arts to th e The Council is concerned on two counts . First, the public. It is the Council's responsibility to try to hol d increasing costs of the arts can only be financed i n a fair balance being the competing claims of all o f four ways : by (i) earned income, (ii) state subsidy , them, between the performing arts (music, opera , (iii) local government subsidy, (iv) support fro m ballet and drama) and the other arts - painting , private sources . It is not right that the whole burde n sculpture, literature and film ; between the major of the extra costs should fall on the state . A balance institutions and the little clubs ; between groups and must be struck between subsidy and what projects individuals; between the main cities and the smalle r earn (i.e. audiences will need to increase in size and pa y places ; between the well-endowed and the deprived proportionately more) ; and subsidy should be a areas. Often the choice is not whether to help thi s partnership between government and local govern- project or that person, but to decide how fairly and ment on one hand and the private sector on the other . effectively to distribute inadequate resources between a variety of projects differing in nature, size, polic y Secondly, the last few years have seen a great increas e and purpose. The Council has to examine need and in state support. For example, ten years ago when th e effectiveness, artistic merit and personal ability, and Council's total expenditure was only £130,000, fiv e make judgements as objectively as possible on criteria theatres received £26,000 or an average of just over which are not always precise and never absolute . It £5,000 each . In 1971/72, five theatres received must also consider not only what the arts need bu t £237,500 or an average of £47,500 each. While the also what the Council can afford . Council has been asked gradually to finance a large r percentage of their annual running costs, it is con- One of the Council's special problems at its presen t cerned to avoid the stronger influence this could hav e stage of development is that a dozen major artistic on their affairs. It has rightly resisted the temptation institutions between them absorb over 60 per cent of to interfere in artistic policy, but it would much prefer its budget. Special steps have to be taken to safeguard local authorities and the private sector to do more t o the needs and interests of other applicants, th e help. It is surely healthier for these theatres, and by smaller places, new projects, experiment an d analogy for other artistic projects, that they shoul d individuals. have more than one visible means of support . A tripod is a more stable base than a single pole . An analysis of the present budgets of the Council 's thirteen largest beneficiaries (the national orchestr a Edinburgh Opera House and opera and ballet companies, the Edinburg h In August 1971 the Secretary of State for Scotland Festival, six theatres, one arts centre and one ar t announced the Government's grant of £2 . 25 million gallery) shows that the total running costs of thes e towards the total estimated cost of £4 . 5 million for projects (not of all the arts in Scotland) amount t o a new theatre in central Edinburgh, an offer readily about £2 . 25 million a year. Towards this, they earn accepted by Edinburgh Corporation . Thus at the box office £783,000 (35 per cent), the Scottish Edinburgh's most famous hole should be filled by th e Arts Council and DALTA contribute £920,000 (4 1 late 'seventies with a new lyric theatre, capable o f per cent), local authorities £367,000 (16 per cent), th e housing opera on the scale of Covent Garden and private sector £ 177,000 (8 per cent) . In other words, also ballet, drama and other entertainments . The total subsidy was roughly £2 for every £ 1 paid by the new theatre will form part of a cultural complex whic h consumer at the box office, and of this subsidy th e includes the Usher Hall and the Royal Lyceu m state paid two and a half times as much as loca l Theatre both of which are to be improved an d government and nearly twice as much as local renovated. authorities and private sources together . The effect on the Edinburgh Festival, on the artistic In fact, the local authority contribution is substantiall y scene in Scotland, and on audiences will be far - towards the Scottish National Orchestra and th e reaching. The Council, as adviser to the Secretary o f Edinburgh Festival (£295,000), and the private secto r State, is giving the Corporation its full co-operatio n contribution is swollen by the £66,000 raised by in the complicated task of revising the brief and

29 Scotland (continued)

planning the future . This is the first new opera house or obsolete. Dundee's Repertory Theatre an d to be built in Britain for over sixty years, and th e Glasgow's main concert hall were burnt down te n project when completed will be of national and years ago and have not yet been replaced . The international importance . Glasgow Citizens' Theatre is threatened with road- widening, and Pitlochry's Festival Theatre is nearin g Stirling : MacRobert Centre the end of its useful life . One of the brightest features of the arts scene in Scotland has been the successful opening last Some new buildings have been built : the MacRobert September of the new MacRobert Centre at Stirlin g Centre at Stirling University, the new complexe s University. including a concert hall and small theatre a t Motherwell and Musselburgh, and Edinburgh is to This attractive modern arts centre was built largely build a new theatre suitable for opera, ballet and as the result of a generous gift from a private trus t drama on the Castle Terrace site . The Arts Council and with substantial help from the Housing the Art s has contributed £465,000 towards eleven arts project s Fund. It is run by the University with financial hel p in Scotland between 1965 and 1972. Yet a great deal from the University, local authorities, the Scottish remains to be done. In particular Scotland lags Arts Council and the Calouste Gulbenkian behind England in the provision of new theatres fo r Foundation. It provides a rich diet of music, opera , established theatre companies . ballet, drama, art exhibitions and films, not only on the campus for the University students and staff, bu t Present plans and proposals include : a new concert also for the surrounding community . hall in Glasgow ; four new theatres in Glasgow, Dundee, Pitlochry and Inverness; a need fo r In spite of the usual teething problems, this enterprise , temporary exhibition space in Edinburgh an d directed by Anthony Phillips, has been rewarded with Glasgow, and for workshop space for artists ; and a great success : in its first six months, its audiences dozen new buildings or conversion and modernisatio n have averaged over 75 per cent of capacity at al l schemes for arts centres, concert halls, or smal l events. Its success has many lessons for ne w theatres, at St Andrews, Dalkeith, Kirkcaldy , developments elsewhere in Scotland . Livingston, Hawick, Airdrie, Cumbernauld, Eastwood , East Kilbride, Irvine, Kilmarnock and Gatehouse- Inverness: Eden Court Project of-Fleet. Although it is a smallish town (population 30,000) , Inverness is the capital of the Highlands and attract s Excluding the proposed cultural complex in Glasgow, many tourists in summer. But its cultural facilities for the total cost of these schemes amounts to nearly £ 4 the performing arts are meagre and need to b e million at current prices . On the basis of an increased improved . It is therefore gratifying to note the Tow n allocation for Housing the Arts in Britain over th e Council's initiative in planning to build a mixed - next five years, the amount available for commitmen t programme touring theatre or arts centre seating in Scotland might average £100,000 per annum ove r approximately 750 on a magnificent site near th e the period. The Council will, therefore, find it difficul t centre of the town. to contribute to more than a few of these schemes , unless the funds available for commitment are greatl y Towards a total cost of £600,000, the Secretary o f increased . State has authorised the Highlands and Island s Development Board to grant £150,000 and it is hope d Music the Arts Council's Housing the Arts Fund wil l Musically it was a year of birthdays. The Edinburgh contribute a similar sum, provided the balance i s International Festival celebrated its twenty-fifth, th e raised locally, and subject to detailed approval of th e Scottish National Orchestra its twenty-first, Scottish scheme and certain other conditions . Opera its tenth, and the Scottish Baroque Ensembl e was born as a regular orchestra . Housing the Arts One of the most urgent problems in Scotland is the The Edinburgh Festival is now so well established question of Housing the Arts . Too often the arts hav e that at least a generation cannot remember Edinburg h to make do with converted or temporary premises . without it, though some of its younger audience wis h Many of Scotland's concert halls, theatres, art the Festival could be more with it . Out of some 18 0 galleries and arts centres are old-fashioned, obsolescent events in three weeks, perhaps the most memorable

30 were the Festival's own production of Rossini' s £216,500 from the Scottish Arts Council and £64,000 La Cenerentola ; Scottish Opera's Die Walkure with from Dalta for touring in England. Helga Dernesch ; concerts by the Chicago Symphony, Israel Philharmonic and London Philharmonic It is only fair to say that opera is notoriously expensive , Orchestras ; the first performance of Thoma s and other British opera companies have run u p Wilson's Te Deum by the Scottish National Orchestra bigger debts. Eventually the Arts Council an d and Edinburgh Festival Chorus ; exhibitions of the the Scottish Arts Council contributed £80,00 0 Belgian Surrealists and Walter Scott ; visits by th e extra towards the deficits, and Scottish Opera raise d Royal Danish Ballet, and Bulandra Theatre fro m over £60,000 for its next season by an emergency Rumania, the Manhattan Project 's Alice in appeal to industry and commerce . But the problem of Wonderland, Prospect's King Lear, and a popular financing opera remains the problem of financing all Comedy of Errors from the Young Vic . the performing arts : that costs rise at a faster rat e than income, and the gap to be filled by subsidy an d By careful husbandry of artistic and other resource s donations continually widens. Yet the amount o f and by increased attendences (81 per cent of capacity) , subsidy will always be limited, and no public body can Peter Diamand was able to produce a welcome encourage or allow any of its beneficiaries to liv e surplus. beyond their means . In the last resort, a balance must be struck between the amount and quality of activity The Scottish National Orchestra celebrated b y undertaken and the amount of money needed to pay organising in conjunction with Glasgow Universit y for it. a week of open rehearsals and public concerts of ne w works by Luciano Berio, Iain Hamilton,Thea Musgrave , The Scottish Baroque Ensemble, originally formed b y Thomas Wilson, and Douglas Young, speciall y Leonard Friedman at Ledlanet in 1968, establishe d commissioned with the help of the Calouste itself during the year as a major addition to th e Gulbenkian Foundation . The Orchestra's winter Scottish orchestral scene . It was much in demand fo r season contained many programmes of a celebratory Scottish Opera's smaller-scale operas, and also gave nature, and its autumn visit to Germany and Austri a public concerts throughout Scotland . was a great success . The BBC Scottish Symphony Orchestra gave many public concerts in Edinburg h Scottish Theatre Ballet consolidated its reputation and Glasgow, not only while the SNO was abroad , with a new full-length version of Giselle choreographed and won many friends by also playing for Scottis h by Peter Darrell, his new Tales of Hoffmann falling Opera. just outside the scope of this survey. The company's new associate director, Stuart Hopps, also scored a Scottish Opera's tenth season was memorable for th e hit with An Clo Mor, a new ballet with a vocal first professional performance in Scotland of Wagner' s accompaniment sung in Gaelic by Dolina Maclennan , complete Ring cycle, conducted by Alexander Gibson , which the Council also toured to the Highlands. which proved an outstanding success with the publi c and the critics . The year also included a splendid The Council continued its help to the promoters o f Der Rosenkavalier (Richard Strauss), a revival of musical events and to composers of new work, an d Elegy for Young Lovers (Henze), and a new produc- made its first grant for the recording of Scottish musi c tion of Rossini's Barber of Seville . The Scottish Opera through the Saltire Society . Chorus again performed notably, both in opera an d on the concert platform . Theatre In the theatre, the year was one of consolidation . This undoubted artistic success was achieved at som e The Council's major contribution continued to be cost. The danger signal was sounded when in August the assistance given to the six Scottish repertor y it was discovered that the accumulated deficit, whic h theatres. Nothing could be healthier than the variet y had already risen to £41,000 at the end of March 1971 , of approach to essentially similar problems. The was estimated to increase to £87,000 by the end of Royal Lyceum Edinburgh successfully mounte d March 1972. Though part of this over-expenditure productions of new plays by Scottish playwright s was unavoidable, nevertheless it was clear that with strong Scottish casts, notably Jack Ronder' s Scottish Opera could not meet its commitments , adaption of James Hogg's Confessions of a Justified nor could it embark on its 1972/73 season with a n Sinner, Stewart Conn's The Burning, and Bill estimated deficit of £60,000 after receiving subsidy of Bryden's Willie Rough. The Glasgow Citizens' and

31 Scotland (c,)rttinucd)

the Close pursued a policy of courageous play selection The Council continued under the title Stage Ito and controversial productions with a bright youn g co-ordinate, publicise, and subsidise major tourin g ensemble company . From an interesting programme , productions of opera, ballet and drama in the No. 1 perhaps Brecht's Galileo, Buchner's Danton's Death , Touring Theatres in Glasgow, Edinburgh an d Albee's Tiny Alice, and Genet's The Maids should be Aberdeen. While opera and ballet are geared to singled out. Perth premiered N. C. Hunter's last play touring, one problem common to the changing Henry of Navarre and George Mackay Brown's firs t touring pattern in Britain is the difficulty of bookin g stage play A Spell for Green Corn ; while Dundee , drama shows of consistently good quality . Though a St Andrews, and Pitlochry continued good work in visit by the National Theatre or the Roya l their own areas. Shakespeare Company is welcome, their new theatre s and other commitments make them reluctan t Most repertory theatres are now the base of a theatre- tourers, in spite of pressure on them and on the Art s in-education group providing a professional service Council to do more . Prospect Theatre Company's to the surrounding education authorities . Though there productions of Hamlet, King Lear and Love's have been teething problems, most groups are now Labour's Lost, attracted good audiences, but othe r firmly established and all are supported by both the drama productions fared less well. In general , Council and the local authorities . Five companies Stage I seasons proved reasonably successful, and gave nearly 900 performances in about 300 schools . the Council is grateful both to the companies and to its local authority partners for their help in a Among the smaller theatres and groups, the rewarding exercise still in its formative phase . Traverse continued its policy of doing new plays and acting as host to visiting experimental groups . The Drama Committee spent much time deliberatin g The Traverse Theatre Workshop in its second yea r the question of a new major Scottish theatre compan y received increased support, and under Max Stafford- as recommended in the Theatre in Scotland report. Clark's direction produced such distinguished While a decision and announcement was made afte r experimental work as John Spurling's In theHeartof the the year end, its importance justifies a summar y British Museum, and StanleyEveling'sOur SundayTimes. here. Briefly, the Council and the Board of the Roya l It proved even more successful in Europe than in Lyceum Theatre Edinburgh have agreed in principl e Scotland. A new lunch-time theatre - the first in to establish gradually over a three-year period a Scotland - opened at the Pool in Edinburgh, and unde r Scottish Theatre Company comparable to Scottish the energetic direction of Phil Emanuel and Joh n Opera and Scottish Theatre Ballet, to provide fo r Cumming, drew typists and theatre buffs to new audiences in Scotland and elsewhere an international plays and baked potatoes. repertoire of drama at the highest standard, and within this concept to explore Scottish traditions b y After a shaky start, the Stage Company Scotland di d encouraging, substantially but not exclusively , some effective barn-storming with new plays in search Scottish playwrights, directors, players, designers , of new audiences in the theatreless areas, and Joh n technicians and administrators. The essential Ridley's more conservative approach enabled th e functions of such a company and the condition s West of Scotland Company to achieve some success. upon which the Council would be prepared to give The two-man, or rather one-man-one-woman, Mul l increased subsidy have been defined, and muc h Little Theatre (Dervaig Arts Theatre) felt sufficientl y detailed discussion and planning will take place in encouraged by their success in Mull to plan to expand the coming months . It is hoped that the new company into Oban this summer . will emerge from the old within three years, and b e capable of touring in Scotland and abroad, so that it The Council's schemes of help to individual s will be fully established and in good heart by the tim e continued. On the advice of a special panel, bursaries that Edinburgh's new major lyric theatre opens in th e were given to playwrights who were attached for late 'seventies. periods to a theatre . Grants were made to assist the production of new plays, and minimum royalties t o Art authors of new plays were guaranteed . The Council The Council's role in art differs from that in other decided to operate in 1972/73 its own scheme to hel p spheres. Usually the Council helps other people to d o train promising directors, instead of participating i n things, and does not do them itself. As a matter of the Arts Council's scheme operated from London . policy it does not run orchestras, concert halls , theatres, art centres or festivals, because if it did, i t

32 might discourage others, monopolise taste, spend to o step to the Council's operating its own art gallerie s much, or employ too many people. However there have in Edinburgh and Glasgow. In Edinburgh, the ne w always been exceptions, and art exhibitions is one o f gallery in Charlotte Square, and the snack bar in th e them. Until recently, no other body in Scotland basement, attracted many visitors throughout th e regularly mounted and toured exhibitions, so thi s year. Now that the offices have moved `over th e is a valuable function, performed centrally, tha t shop', members of the office staff are in daily touc h brings benefits to the public in a score of places al l with the public. over Scotland, and indirectly enables them to rea p the economies of shared costs and services. In future , In Glasgow, the Council a few years ago leased a n it is likely that other agencies will mount and tou r art gallery in Blythswood Square, formerly used b y exhibitions, often with the Council's help, and this is the Glasgow Lady Artists Club who continued t o a heathy development . occupy the rest of the elegant Victorian buildin g with a Charles Rennie Mackintosh door. Although Twenty-one exhibitions, including four fro m the art gallery was quite successful, it never seemed to England, were shown in twenty-four differen t click with the public, possibly because it was run b y buildings in eighteen towns - a total of fifty-seve n remote control. When the Club found it could n o showings during the year . In scope, these exhibition s longer afford the premises, the Council decided to buy ranged from the medieval to the avant-garde . The the whole building, and set up a working party t o Council celebrated Albrecht Durer's 500th recommend the best way it could be used to stimulate birthday with an exhibition of prints from Scottish a greater interest in the arts in Glasgow . A public collections that drew crowds . The Jessie M. King meeting held in the gallery produced a great man y exhibition, completing the series of exhibition s good ideas, not all of which could be realised in the dealing with art in Glasgow at the turn of thi s space available . century, attracted two groups of people - those wh o once knew Jessie King and younger people dressed i n The Council has now decided to develop th e clothes resembling those in her work . A large show building as an arts centre, primarily but no t ofOrchardson, and the Belgian Contribution t o exclusively for the visual arts ; a resident director i s Surrealism mounted for the Edinburgh Festival , to be appointed ; repairs and conversion are unde r brought disparate aspects of the past to life ; whereas way ; and it is hoped to re-open early in 1973 with a seven exhibitions dealt with contemporary work : wider programme of exhibitions, lectures, recitals , Art Spectrum, Awards to Artists, Gerald Laing, New films and multi-media events . The building (as yet York Pop Prints, Scottish Realism, Art from th e without a name) will have a restaurant and bar, an d Faroe Islands and Locations Edinburgh. Coia should become a lively meeting place for artists an d Caricatures (another Festival exhibition) neatly the public . This exceptional step has been taken by contrasted with The World of Bud Neill, showed the Council to meet a present need in Glasgow . that the cartoon and the comic strip have a place i n The position will be reviewed in three or four years art and a following among the public . Exhibitions o f time when it will decide whether or not to hand over Katie Horsman Pottery, Archie Brennan Tapestry, the operation of the centre to an independent trust. and Wemyss Ware showed that art and craft are one . Two imports were particularly rewarding : the Arts The Council also continued its policy of grant-aiding Council's shows of the smaller sculptures of Henry other ventures, notably exhibitions at the Demarco Moore and Indian Paintings from Court, Town, an d and the New'57 Galleries in Edinburgh, th e Village. Two Scottish Exhibitions, Jessie M. King, Compass Gallery in Glasgow, and a number of other and D. O. Hill and Robert Adamson, were exported art galleries or temporary exhibitions throughout and shown in London. Scotland. Many theatres now show regular exhibitions , and some works in the Council's own collection are This brief survey emphasises the catholic choice o f lent for showing in public places. Among the man y subject-matter : a rough balance is struck betwee n bodies receiving grants was the new Weavers ' ancient and modern, painting and scuplture, art an d Workshop, which together with the Printmakers' craft. Lest anyone thinks the list parochial, it include s Workshop and the Ceramic Workshop, makes work from America, Belgium, England, the Faroes , Edinburgh a centre for the applied arts . Germany and India as well as from Scotland . As a rough guide the Council's budget for the arts is From the exhibition-mounting function, it is a short half for exhibitions, a quarter for grant-aid, and a

33 Scotland (conlinucd )

quarter for artists and special projects includin g were maintained, and grants were made to fiv e films, lectures, and equipment . magazines which publish work by a great man y Scottish writers. It was a good year for Gaelic . Three One of the most important matters considered durin g distinguished Gaelic poets from Eire were invited t o the year was the review of policy undertaken by the give a series of readings in Scotland ; a grant was Art Committee, which resulted in a policy paper being given to Claddagh Records of Dublin to produce a accepted by the Council. It is difficult to summarise disc of Sorley Maclean reading his poetry in Gaeli c the conclusions without distorting the whole . The (the second record in an annual series) ; grants to Council decided to confirm that its duty is toward s Gairm and the Gaelic Books Council were substan- the public as a whole and towards raising publi c tially increased ; and a Gaelic book featured among interest and standards in art, and this might no t the publication awards for the first time. always coincide with direct support of artists livin g in Scotland . The lack of suitable space in Edinburgh, The Council has initiated a series of films on Scottish and to a lesser extent in Glasgow, for housing majo r writers. The first film, on Neil Gunn, was made i n loan exhibitions remains a serious concern of the association with Educational Films of Scotland, and a Council, and a number of such exhibitions have bee n second, on Hugh Macdiarmid, was started and shoul d lost because of it . Representations were made to the be completed shortly . Another film sponsored by the Secretary of State for Scotland, and discussions hel d Council - on Jack Coia and Partners the architect s with those concerned . Methods of giving awards to - continues the Council's series on Scottish artists . artists were reviewed, and awards are now fewer , While increasing costs limit the number of films whic h larger and unconditional, based on the Art Panel' s the Council can help to finance, nevertheless this is a n assessment of the achievement or potential of the increasingly important part of its work . It helps put the artist. The Public Sculpture Scheme has been writer or artist over to the public, it helps film-makers, replaced by a Commissions Fund, available toward s and it provides a valuable educational tool o r works in all media in public places, which may b e archivalrecord . suggested to or initiated by the Council . Tours The Council, recognising that some artists and youn g It is sometimes said that the Council devotes to o people value creative activity, and the artistic process , much of its attention and funds to the big cities . more than the art object produced by it, has also While 60 per cent of the population live withi n agreed in principle a proposal to establish an art s reasonable reach of the main towns in the centra l workshop centre, meaning an equipped space i n Scottish belt, and the professional performing art s which the arts in various media may be practise d are largely an urban sport, nevertheless the Council and exhibited. The search for suitable accommodation , continued to co-ordinate, publicise and subsidis e perhaps in a converted warehouse, has begun . some 300 events promoted by about ninety clubs an d arts centres throughout the nation . This work, unsung Literature and film and unglamorous though it may appear, require s The Council's help to literature continues to expand . judgement, care and detailed planning in conjunctio n Five years ago the Council devoted a mere £2,000 t o with voluntary bodies and local authorities. Yet poetry only. Last year, it spent £23,000 on literatur e without it, the artistic diet of those who live in places and in the current year the amount availabl e like Orkney, Oban or Stranraer would be blea k increased to £38,000. Welcome though these increase s indeed. are, they represent only a small fraction of the Council's resources . Compared with the million s From the fifteen tours sponsored by the Council, i t spent on public libraries, the Council 's support of is possible to give only a selection . The Far East the living writer appears modest . Nevertheless there contributed Won-Kyung Cho in Korean Theatre and are signs that its increasing help is both needed an d Dance, and the Young Chinese pianist Enloc Wu appreciated. captivated all her audiences . Among chamber music groups, the Stradivarius Trio with Werner Giger fro m Over half the budget for literature was devoted to Switzerland and the Early Music Consort from twelve publication awards, seven bursaries fo r London were outstanding . The Ulster Orchestra and authors, and ten grants to publishers (for details , the Northern Sinfonia gave concerts in places as fa r see page 53). The Creative Writing Fellowships at South as Hawick and North as Kirkwall . Among Edinburgh, Glasgow and Strathclyde Universities home-grown companies, Callum Mill's tour in The

34

Bailie, Pitlochry Festival Theatre's production of theatres. His knowledge of the professional theatre Moliere's Tartuffe, and Scottish Theatre Ballet's and his understanding of its problems will be hard t o An Clo Mor, deserve special mention . replace. James Arnott and Harry Jefferson Barne s joined the Council in January 1972 . The Council continued its policy of asking clubs to change over from direct promotion to independen t The death of Professor David Talbot Rice in March subsidy. Fifty-four clubs were subsidised on the ne w 1972 was deeply regretted by all who knew him an d basis, fourteen of them for the first time, and b y his work for the arts in Scotland and elsewhere. March 1973 all the rest will have followed suit. His work as a scholar and teacher was matched b y his valuable services to the Council and its Art The newcomers to the artistic scene received grants Committee throughout the'sixties. for their administration, one of them for the first time . The Association of Arts Centres in Scotland provide s Ronald Mavor, who resigned in September 1971 , valuable services to, and exchange of informatio n had been Director since 1965 . He had been responsible among, its members ; and the Scottish Civic for a particularly creative period in the life of th e Entertainments Association is a consortium of local Council, and many of his innovations will continue authorities to co-ordinate tours of the arts and to bear fruit in the years ahead . He was made CBE in entertainment . June 1972, and was succeeded as Director by Alexander Dunbar. The Future , Inevitably an annual report is largely concerned wit h In December, the Council moved its offices t o the past, but the Council is concerned with the future. Charlotte Square and sold its old offices a t The future holds many problems but also man y Rothesay Terrace, Edinburgh . opportunities . The arts are changing rapidly and society's attitude to them is changing rapidly. Assumptions which were valid ten years ago are n o longer valid . The values of the young are not the same as the values of their parents or of thei r grandparents . Artistic institutions are like restaurants or football teams : they have their ups and downs, but generally artistic institutions change thei r managers less frequently. Institutions are useful but not more important than the people that compose them. Those who accept change realistically have the secret of perpetual youth ; others all grow old together . The Council itself will continue to review and revise its current policies to suit changing conditions . In particular it may well re-examine its role as on e agency among many which support the arts, and perhaps move into a better or closer partnershi p with local government in some form of regional development.

People During the year, Lord Balfour of Burleigh succeeded Lewis Robertson as Chairman of the Council . Colin Chandler, David Donaldson and Alan Reiach retired from the Council at the end of 1971 . Though all ha d given valuable service, Colin Chandler's contributio n had been outstanding. He had served for a total o f fourteen in the last sixteen years, and as Chairman o f the Drama Committee had been responsible for the Council's Report on the Theatre in Scotland and the introduction of theatre-in-education schemes at five

35 Wales

The objects of the Arts Council of Great Britain have most ominous of these is the growing split between been well publicised . Even so, there are expectation s large-scale, expensive traditional arts (which in effect of the Welsh Arts Council which exceed these objects . means the re-presentation of recognised masterpiece s The Council is required by many, not only to suppl y and to a lesser extent, contemporary protractions of the arts but also to devise, and provide for, a national traditional forms) and those socio-educational plan for the arts . artistic enterprises which are small scale, inexpensive , often multi-media, favoured by younger From inception, the Welsh Arts Council has used it s generations. funds to increase the number of artistic events taking place in Wales by offering financial and other hel p It is a common cry at present that Wales is stirrin g where local initiative and standards warrant . and re-gaining its old confidence and self-esteem . It is Regularly, this has meant introducing professiona l reasonable to expect that this renewed national prid e arts from outside Wales. At the same time, the Council will demonstrate itself in artistic expression . has contributed substantially to the establishment o f Deprived of large-scale professional arts institutions , permanent arts organisations within Wales . this expression could find itself directed towards the newer international artistic manifestations, possibl y The Council has repeatedly pointed out that to catch at the expense of the old . up artistically on other European countries it i s essential that Wales establishes a fully-engaged Welshmen with an appetite for the arts must indicate opera company with adequate performing facilities , very soon what they want and how they propose t o a high quality national theatre in both languages, a pay for it . It is not for the Welsh Arts Council to say full size national symphony orchestra and a majo r what they should or shall have . art exhibition centre . None of these objectives ha s been realised, although in artistic terms the Wels h Occasionally there are signs of initiative . With the National Opera Company had been recognised as an unique exception of the art centre project in Mold , important integral part of the opera hierarchy in th e Flintshire (which itself will have a significan t United Kingdom. educational content), the earliest signs - positive i n terms of objectives and investment, have come fro m The overall grant for the Welsh Arts Council has places of higher education. By implication this should accelerated from £30,000 in 1953/54 (the first year o f lead to radical policies for the arts with an increasin g autonomous grants) to £140,432 in 1963/64 and demand for the new. But the arts, especially the new £845,000 in 1972/73 . It is likely to reach £1 million arts, are not isolated from the influence of other within the next two years . media. The location of the promotional bodies fo r these (e.g. film, crafts and especially the new Yet, despite this recent large-scale investment in the technological media) is London, and Wales tends t o arts, these comparatively modest objectives have stil l receive the fag-end of attention from them . Always to be achieved . It can be argued that inflation has cut remote, they affect Wales but are never co-ordinated deeply into these grants but the rate of increase within Wales and the potential impact of their clearly far out-paces increased costs . collective resources consequently is diminished . Whilst the Council endeavours, as the followin g The failure to make satisfactory progress towards departmental reports indicate, to co-ordinate outlet s these objectives is due unquestionably to the lack of for creative expression in several media, the time i s investment on a similar scale by other potential art s probably ripe to prompt relevant promoting patrons. Contributions from local authorities ar e authorities to join with the Council in co-ordinating very uneven and in total are an imperceptible these cross-fertilising activities within Wales . percentage of permitted limits . Industry's record i s derisory. Art Meetings of the Art Department held during th e Inevitably, the question must be asked whether th e winter of 1971 with curators, secretaries of ar t Council, as virtually the sole purveyor of the arts i n societies and heads of departments in museums an d Wales, is right in still pursuing even these limited galleries in Wales, both major and minor, effectivel y objectives. taught the officers that there is still a big demand for the exhibition programme and services for th e Everywhere the arts are faced with dilemmas . The visual arts offered by the Welsh Arts Council . At the

36 same time as local initiative is being encouraged and minute news and photographs right into the developed, it is proving necessary to budget generously exhibition itself. for the provision of artistic activity . In 1971/72, about two-thirds of the total Art Allocation were assigne d The largest exhibition of the year was Worship, to the Council's exhibition programme, to the Ar t third in the Art and Society series, setting out to Film tours, and to various projects and event s `make clear something of the role of art in religiou s provided by the Council . Less than a third went to thought, ritual and teaching' . Drawing material from support artists' activities, filmmaking, societies , different cultures all over the world, the exhibitio n festivals, public organisations and publishers. was divided into sections - past, present and future - marked by different colours . At the National Museu m The exhibition programme, as usual, predominated : of Wales it attracted nearly 30,000 visitors, whose of the sixteen exhibitions shown in Wales, six were reactions to the display, presentation and publicisin g new, part of the year's planned activities . Art of the exhibition the Welsh Arts Council asked in a Spectrum Wales - nominally organised by the questionnaire detachable from the catalogue . Like National Museum of Wales - was the first to open , War and Work, Worship went outside the Principality a controversial presentation of (finally) ten Wels h and was shown also in England . artists. It travelled across Wales to the chief displa y centres, as did the six other nationwide exhibitions o f Of the continuation exhibitions from the previou s similar title, the first-ever series of exhibitions t o year, Snap!, which had opened in March in th e show what was happening, artistically speaking, in National Portrait Gallery and then tried to open i n each region. Recording Wales in Maps was also Newport, created the most public interest . Despite unique, being the first in the Recording Wales series objections from more than one venue to showing the to consist of three exhibitions, each opening at complete exhibition, it appeared twice in Wales, a t six-month intervals ; the whole constituted an the University Colleges of Cardiff and Aberystwyth . aesthetic survey of cartography of the Principality Also touring Wales were 50-Odd Posters, a highly from the first printed map in the sixteenth century to original collection from the Royal College of Art ; the sidescan sonar plan of today . Again, it was a Industrial Devices, of perennial fascination ; shared venture with the National Museum of Wales , Recording Wales II : Chapels, still in demand o n the Keeper of Geology choosing and cataloguing th e both sides of the border. maps. All three parts of the total exhibition will ope n together in 1972/73. Nine exhibitions were shown in the Welsh Art s Council Gallery, Cardiffand Newport Colleges of Art For the Royal National Eisteddfod of Wales a t presenting ceramics and prints, and first yea r Bangor, the Welsh Arts Council and National exploratory work, respectively. From University Museum of Wales devised Early Christian Monuments College, Aberystwyth came an exhibition of work b y of Wales, a collection in reinforced fibreglass o f Michael Pennie, the Gregynog Fellow ; from the reproductions of the most famous and remarkabl e Arnolfini Gallery, Tom Phillips and Matrix; with the Celtic stones in the country . The firm who mad e Arnolfini the Welsh Arts Council put on an the casts and moulds developed a special techniqu e information event entitled Air/Space/APG/Pavilion for a surface so like the originals that some peopl e in the Parks, and consisting of photographs, literature , thought they had been transplanted to the Eisteddfo d films and discussions relating to those organisations Field. This exhibition was the first to bring together concerned with the provision of artists' studios an d magnificent casts of the choicest Welsh monuments , the commissioning of artists' works . and to an audience of many thousands powerful evidence of a great heritage . The Arts Council of Great Britain showed fou r exhibitions in Wales, two of which were toured by th e Scoop Scandal and Strife opened in the Nationa l Welsh Arts Council : Painting 1964-67 and Still Life. Museum of Wales in August, an exhibition presentin g Piscator was shown at University College, Cardiff, `a view of the development of journalistic photograph y Kandinsky at Cwmbran and Hepworth at Bangor ; and its use - day after day - in that most familiar of and the pink balloons and space structures of mass media, the newspaper' (Ken Baynes, introduction Blow Up 71 took over Cardiff Castle Green during to catalogue) . Among its epoch-marking photographs , a sodden Whit weekend, giving pleasure to innumer- and actual newspapers from John Frost's collection, able screaming children and some intrigued adults. was a picture-receiving machine bringing up to the Four groups of artists brought their diverse

37 Wales (continued)

inflatable/coloured/culinary/musical talents to made to a photographer by any Arts Council went t o Wales for this occasion. David Hurn, Cardiff-born member of Magnum, for a series of photographs of Wales . Ivor Roberts-Jone s As in previous years, the Art Department toure d was commissioned to provide a portrait head o f two Arts Council of Great Britain Films on Art units Gwyn Thomas ; and Terry Setch, a painting for in Autumn and Spring. Showings were increasingly Coleg Harlech. in demand, despite the winter power cuts an d consequent postponements . To judge by the choice With the inviting onto the Art Committee of a BB C of programme, Wales is a country of frustrate d representative, £ 1,000 was allocated for the first tim e potters and devotees of Matisse . for the making of television films in co-operation wit h BBC Wales. The first to get under way was a survey The reverse of the Art Department 's coin - so to of Welsh industrial archaeology, before too much is speak - is support for independent initiative . This lost. Five film-makers, both student and fully fledged, year Pavilions in the Park was the largest single event also received aid. The Art Department appreciate s aided by the Art Department. Instigated by two abl e that film-making is an expensive business, and is eager and enthusiastic sixth-formers in Swansea, soo n to encourage activity in this field . joined by a likeminded secretary, the project in Singleton Park, near the sea, was marked by excellent Other recipients of Grant Aid were the Royal National adminstration, imaginative leadership and a super b Eisteddfod of Wales (for the design of the Art an d opening - despite thigh-deep floods, some tempera - Craft pavilion at Bangor), Cardiff University (for an mental personalities and one entirely unsuccessful, exhibition of work by Henrik Gotlib), Nationa l though purpose-built and prizewinning Pavilion . Museum of Wales (towards an exhibition of Arthu r The worthwhileness of the scheme was indicated by Hughes' work), the South Wales Group for an open the reaction of the children who were attracted t o exhibition. This last was an interesting venture, being the heterogeneous groups of artists and pavilions . The the handling and administration of the Welsh Arts organisers reported that the site became `a "centre " Council 's annual open exhibition as one of the for the thirty or so youngsters who spent almost all Group's : Richard Demarco, Terry Frost and Kennet h of every day (there). Their enjoyment alone would Armitage were the selectors, and eleven works wer e have been justification enough for the whole scheme. ' acquired for the Welsh Collection with the £ 1,000 purchase money made available by the Council . A continuing development in 1971/72 was th e One of the newest and most significant recipients of supporting of various publications, chiefly i n aid was Chapter, the new Cardiff Arts Centre whic h connection with the major exhibitions. Lund opened in March with a month's festivities . Peter Humphries brought out Worship at the same tim e Dockley 's disintegrating wax and grain sculpture s as the exhibition, and complementing it . Third in formed a notable item among these, and the Ar t the series matching the Art and Society exhibitio n Committee has pledged itself to support the exhibitio n titles, this was written by Ken and Kate Baynes and and art event programme at Chapter . received very favourable reviews. Later in the year , Lund Humphries published Scoop, Scandal and The absence of a good commercial gallery in Cardiff, Strife, as a result of the exhibition, echoing th e since the demise of the Howard Roberts Gallery las t Welsh Arts Council's belief in photography as an art year, became increasingly noticeable . This with othe r form to be given its rightful place among others. factors has decided the Art Department to expand considerably its services to artists . The indications The more traditional forms of support were uphel d are that a number of radical developments in the - awards to artists, grant aid to festivals and societies. Art Department's provision and support may well The Design Grant scheme expanded during the year, take place in consequence. five designers or design firms and four publishers an d other clients receiving fees for the professiona l Drama employment of designers . Of the grants administered Unlike the Council's other subject committees, the as Commission Aid, the most interesting were toward s Drama Committee is not involved in the direc t a sculpture by Garth Evans at Ebbw Vale and a water provision of activities, and the work of the Depart- sculpture at St David's College, Lampeter. William ment is almost exclusively concerned with assisting a Wilkins received a bursary to carry out drawings in number of autonomous bodies to realise thei r Brittany. The first Commission Award ever to be independent aims.

38

Although the Council's drama allocation of £102,00 0 counterweight system, new seating throughout th e has increased by only 2 per cent over the previous yea r Theatre and the entire redecoration of the auditoriu m it is encouraging to note that in range and numbe r and the exterior of the building . the activities supported have increased considerably during 1971/72. The Welsh Theatre Company, i n Last year's report mentioned that work had begu n particular, broke important new ground in presentin g on three new theatre buildings : at the Universit y a tour of Uncle Vanya and A Pig in a Poke for Dalta : Colleges in Cardiff and Aberystwyth, and at Cole g these productions were seen in Cardiff, Swansea, fiv e Harlech : these are nearing completion and will ope n English and one Scottish theatre. in the coming year . University College, Bangor, and Llanelli Borough Council must now be added to th e The number of new Welsh and Anglo-Welsh play s list of builders, while Flintshire County Council are which have received a first professional performance i n proceeding with plans for a comprehensively designed Wales is noteworthy . The Grand Theatre, Swansea , Arts Centre in Mold, the first phase of which will gave the premiere of Hugh O'Connell's play, The include both proscenium and studio theatres . Dolls of Swansea, as part of the 1971 Repertory Season . At the Casson Studio Theatre, The Welsh These are the first purpose-built theatres in Wale s Theatre Company presented : Celtic Fire by G. O. M. for half a century and for the most part in localitie s Jones ; Buzz Buzz Critch Critch by Ewart Alexander; where no theatre has existed before : they must not be Happy Ever After by Elaine Morgan ; and Over allowed for shortage of funds to fall short of their Gardens Out by Peter Gill . The Welsh languag e very modest ambitions ; but neither can they b e Company presented three new one-act plays by John expected to produce a durable theatrical traditio n Gwilym Jones, under the title Rhyfedd y'n Gwnaed, overnight . Finance apart, it will not be easy to at the Bangor National Eisteddfod, and on tour ; establish these theatres at the professional level whic h also a new play for children, Nid Aur yw Popeth most concerns the Council, but it is very much to be Melin by Eigra Lewis Roberts . With the Council's hoped that the authorities which have contributed t o help the Company commissioned new plays from these sophisticated facilities will now be equally Tom Richards, in Welsh, and from Gwyn Thomas generous in assisting the professional practice of th e in English . arts in their new buildings.

At the end of the year, a new company, Y Theat r The Court of Governors of the National Theatre Ddiethr, mounted the first professional production of has accepted Lord Chalfont's proposal that a Nationa l Dinas Barhaus by W. S. Jones in a double bill with Centre for the Arts in Cardiff is more appropriate t o Y Pry by Michael Povey. Two other new production present-day needs than a theatre building alone . units should also be mentioned : the Cardiff Open Ai r His new appraisal of the scheme links it to the legal Theatre, marking its second season in Roath Park entity and original aims of the St David's Theatre with The Thwarting of Baron Bolligrew ; and the Trust of which he has become Chairman . A joint Cambrian Theatre Company whose production of working party, also under his chairmanship, has been The Duchess of Malfi toured in South Wales . set up with representatives from the Trust, Cardiff City Council and the Welsh Arts Council . The Court During the year Miss Branwen Iorwerth took par t of Governors will continue to act in an advisory in the Arts Administration Course arranged i n capacity. conjunction with the Arts Council of Great Britain at The Polytechnic of Central London . Miss Gillian Adams took part in the Arts Council of Grea t Housing the arts Britain's Training Scheme for Theatre Administrators . A commitment of £20,000 was made for a new theatre Mr Peter Sandeman of the New Theatre staff spent at University College, Aberystwyth . Two grants were a short period of secondment at the Alexandra also made towards improved facilities : Theatre, Birmingham . Borough of Barry : Memorial Hall 1,500 Extensive improvements to the facilities at the New Barmouth Community Centre : Dragon Theatre 500 Theatre have been appreciated by members of the public and visiting companies alike : the third phase of the Trust's refurbishing scheme has now bee n Literature carried out, including the completion of the full The Literature Committee spent this year, with an

39 Wales (CO17tinurcl j

allocation of £54,000, in an attempt to improve its Poetry Wales and Second Aeon . policies and develop those projects already establishe d during the first three years of the Welsh Arts Council' s The Bursaries Panel considered applications fro m support for literature. writers who wished to be released from their usua l circumstances in order to undertake the writing o f As its work increased, the Committee found i t specific works. From among a large number o f necessary to delegate responsibility for some of it s applicants whose work was read by independent principal activities to a number of specialist Panel s readers, sixteen writers in Welsh and English were awarded bursaries totalling £9,500, of whom fou r The Production Grants Panel, in a review of the received travel bursaries . The recipients were : Peter general principles and detailed procedures involve d Preece, T. Wilson Evans, Gareth Alban Davies , in the award of grant-aid to publishers, recommende d Marion Eames, Rhydwen Williams, Caradog Prichard , subsidies totalling £4,465 to six publishers in the John Rowlands, Sam Adams, Gwynne Williams , publication of eighteen titles, of which nine were i n R. Bryn Williams, Mary Hughes, Rodney Hyde - Welsh and nine in English . These books - mainl y Thompson, Bryn Griffiths, John L . Hughes, Ron volumes of poetry, short stories, novels, critical essays , Berry and Alun Richards . The Panel also began to plays, biography and anthologies - were considered re-examine its aims and policies and a new scheme fo r by the Literature Committee to be of creative literary the award of bursaries was planned for implementatio n merit, the only category eligible for the Council' s in the present financial year. support, and each was supported on condition s relating to the author's contract and the book's The Council's annual Prizes were awarded this year production standards, and on the advice of independent to six writers whose books, published during 1971 , readers. The Council considers this insistence o n were considered by the Literature Committee to be o f professional standards and procedures as one of it s exceptional literary merit. They were Pennar Davies contributions to the development of the publishin g for Y Tlwsyn y Lotws (Dryw), Bobi Jones for Allor industry and the amelioration of the writer's lot i n Wydn (Dryw), D. Tecwyn Lloyd for Lady Gwladys a Wales today. Phobl Eraill (Penry), Emyr Humphreys for National Winner (Macdonald), Roland Mathias for Absalom in The volumes which received the Council's productio n the Tree (Gomer) and Richard Jones for The Tower grants during 1971/72 were : Wyn Griffith : Spring of is Everywhere (Macmillan) . The Prizes were of £300 Youth, Cyril Hodges : Coming of Age, Gillian Clarke : each but D. Tecwyn Lloyd and Roland Mathias Snow on the Mountain, Evan Gwyn Williams : The agreed to forego the monetary award because they Clown, Jeremy Hooker (Ed.) : Poems'71, Ruth happened to be members of the Literature Committee. Bidgood : The Given Time, Roland Mathias : Absalom Two major Prizes of £750 each were awarded to Joh n in the Tree, John L. Hughes : Tom Jones Slept Here, Gwilym Jones, the dramatist, and to Glyn Jones, the Alun R. Jones and Gwyn Thomas : Presenting poet and short story writer, in recognition of thei r Saunders Lewis, Gwyn Thomas : Amser Dyn, J. E. distinguished contributions to the literature of Wales Caerwyn Williams : Ysgrifau Beirniadol VI, Bobi in Welsh and English respectively . Jones: Allor Wydn, James Nicholas (Ed .) : Cerddi'71, Rhydwen Williams : YChwyldro Gwyrdd, T. J. A number of `direct activities' administered by the Morgan : Diwylliant Gwerin, Dafydd Rowlands : Literature Department continued successfully durin g Meini, Bryan Martin Davies : YGolau Caeth, Derec the year. Llwyd Morgan : Barddoniaeth T. Gwynn Jones . Under the Writers in Schools scheme, which was The Periodicals Panel was responsible for advisin g organised by the Council in co-operation with the the Literature Committee that the Council's patronage Arts Associations in the northern and western countie s of literary magazines should be increased to f 10,78 0 and with the local education authorities in the res t during the year. Ten periodicals, six in Welsh and fou r of the country, a total of 108 visits took plac e in English, received grant-aid towards their production during 1971/72. costs, editors' fees and fees to contributors, and a number of smaller magazines were also helped . The In the `Writers of Wales' series published by the magazines published with the Council's suppor t University of Wales Press on the Council's behalf, a were : Barn, Taliesin, YGenhinen, YTraethodydd, further three monographs were published on W . H. YCardi, Llwyfan, The Anglo- Welsh Review, Planet, Davies, Arthur Machen and Idris Davies, and in th e

40 `Poets of Wales' series the work of four contemporar y The Welsh Books Council now has three Department s Anglo-Welsh poets was recorded for the Council by which were created at the Arts Council's request an d Argo Records. Two more records appeared in th e with its financial assistance, the principal officers o f Ysgol a'r Aelwyd (Recordiau'r Dryw) series of the Editorial and Publicity Departments having take n modern Welsh writers, with the Council's support , up their duties during the year . Again this year the and a recording of The Green Desert (Cambrian two Councils co-operated in the organisation of the Records), songs and poems by Harri Webb, wa s National Book Fair and Festival and its officers also sponsored . continued their researches into the state of th e publishing industry in Wales, especially into the At the National Eisteddfod, in addition to the annua l problems of distribution and sales . It is already clear programme Pedwar Bardd and its supervision of the that the Welsh Books Council is successfully assuming design of the Literature Pavilion, the Literatur e the role of a central agency with an interest in all Department organised a series of readings, in th e aspects of the publishing process in Wales and th e open air, of specially commissioned poems in a n Welsh Arts Council hopes to maintain its suppor t attempt to revive the old tradition of publi c for this body to an extent commensurate with it s declamation by poets . The poets taking part in thi s patronage of major national institutions in th e experiment, known as Clywch y Beirdd, were Dafydd other arts . Rowlands, Bryan Martin Davies, Rhydwen Williams , Eirian Davies, Gwilym R. Jones, W. Rhys Nicholas, Vaughan Hughes, Euros Bowen, James Nichola s Music and Pennar Davies. The Council's expenditure on music in 1971/72 amounted to £88,500 and, in addition, subsidies The Council also commissioned six Anglo-Wels h totalling £22,500 were offered to music festivals . poets to write poems for radio lasting half an hour The Arts Associations in North and West Wale s which were broadcast by BBC Wales in the series ` A supplemented these monies through their co-operatio n Command of Words' (producer Lorraine Davies) i n with the Council in arranging and financing orchestra l February and March . The poets were Gwyn Williams , concerts and opera performances . Roland Mathias, John Tripp, Harri Webb, Raymon d Garlick and Leslie Norris . The BBC Welsh Orchestra took part, for the first time, in the season of orchestral concerts arranged Other poetry readings which received the Council' s by the Council in centres throughout Wales . The support were `Poetry International '7 P (Poetry Book involvement of the orchestra was the result of th e Society) at Cardiff, in which the Welsh poet Euro s publication of the `Report on orchestral resources i n Bowen read in the company of Yehuda Amichai , Great Britain 1970'. This report recommended that T. Carmi, D. J. Enright, Ernst Jandl and Denise there should be close co-operation between the Arts Levertov, and another at the Book Bang (National Council and the BBC in the whole field of orchestra l Book League) in London at which Derec Llwy d music and the series of concerts arranged by th e Morgan, Leslie Norris and John Ormond represente d Council for the BBC Welsh Orchestra was regarde d Wales in a programme of commissioned poetry . as the first development of such co-operation i n Wales. The orchestra, which normally appears with Several projects were discontinued during the year. forty-four players, was augmented to seventy so that larger scale works could be included in th e The Dial-a-Poem service closed down in February , programme . an average of 580 calls a week having been receive d during the two years since its inception . Two records Other orchestras to visit Wales in the Council' s of a selection of the poems read on this service wer e programme of concerts included : Royal Philharmonic published . Orchestra (Charles Groves, Radu Lupu, Wels h National Opera Chorus), Halle Orchestra (Maurice It was also agreed that the annual Book Desig n Handford), London Chamber Orchestra (Anta l Review should be abandoned and that the Wels h Dorati), Prague Radio Symphony Orchestra (Vaclav Books Council should be offered financial assistanc e Smetacek, Vaclav Snitil), New Philharmonia in the establishment of a Design Department whic h Orchestra (Wyn Morris), London Symphon y would represent the Arts Council's continuing interest Orchestra (David Atherton, Joaquin Achucarro ) in the publishers' design and production standards. and I Musici di Roma.

41 Wales (cnnlimied)

The Council is now acknowledged as the majo r management control. patron of the living Welsh composer . Substantial amounts of money are spent on commissioning ne w The deficit was paid off by means of a special grant works and Welsh works were included in the through the Arts Council . Leading figures throughou t programmes of the orchestras mentioned above . Wales having spoken in aid of WNO ; it seemed the These included Daniel Jones' new Seventh Symphon y Company had proved its worth as having a usefu l which was first performed at the Festival Hall an d part to play in the overall pattern for opera in th e then in Barry, Swansea and Fishguard; Sinfonietta 3 , United Kingdom . No marked increase in grant was The sun, the great luminary of the universe, Welsh available for the period under review, but there wer e Dances (second suite) - Alun Hoddinott; Castel] signs that Local Authorities in Wales had the Caernarfon - Grace Williams ; Invocation an d Company's well-being in mind and might give mor e Dance Op . 17, Holiday Overture - William Mathias ; for its development . Dobra niva suite - Daniel Jones . Despite continuing financial anxieties, the Compan y Two major recordings of Welsh music were released advanced on three fronts : by replenishing its under the Council's sponsorship, by EMI and Decca repertoire, by strengthening its orchestral provisio n The works recorded on the EMI disc were Danie l and by streamlining its touring potential . All these Jones"Country beyond the stars' ; Grace Williams ' moves have reinforced the Company's case fo r `Penillion' and Alun Hoddinott's `Welsh Dances' , expansion, as befitting the largest professiona l and on the Decca disc - Alun Hoddinott's harp and enterprise in the performing arts that Wales has so clarinet concertos and William Mathias' 3rd piano far produced. concerto. Works similarly recorded in March 1972 , soon to be released, include : Daniel Jones' 4th and A highly original version of Mozart's The Magic 7th Symphonies (Royal Philharmonic Orchestra, Flute by Michael Geliot was the first of three valuabl e Charles Groves), and Sinfonietta 3, The sun, the additions to the repertoire. Next came the firs t great luminary of the universe, and Third Symphon y production by a British Company of Alban Berg 's by Alun Hoddinott (the London Symphony Lulu. This complex work won widespread critica l Orchestra, David Atherton). acclaim, both for its imaginative staging by Mr Geliot and for the level of musical accomplishment achieved The Council convened several meetings to found a by James Lockhart - notably with the Wels h section of `Youth and Music' in Wales . A small Philharmonia, which established overnight its clai m committee has now been established under the to be regarded as a theatre orchestra of some account . chairmanship of Christopher Cory with the musi c The second performance was broadcast by the BBC director of the City of Swansea as its secretary . on the national network . With funds provided by the Council and the tw o Arts Associations a programme of orchestra l Verdi's Rigoletto was also mounted by John Mood y concerts and opera performances is being for smaller auditoria in North and West Wales, but arranged. with sets by Roger Butlin designed to fit large r theatres for later performances . Its success opened The Council gave a grant of £ 15,000 to the Welsh up possibilities for further experiments o n Amateur Music Federation and in the Federation' s economical lines. report, published in December 1971, it is heartenin g to see it noted that amateur music organisations WNO then undertook an engagement from DALT A - choirs, brass bands and folk song and dance (which co-ordinates touring in the United Kingdom) societies - seem to be increasing in number. The for seven playing-weeks in English cities, and hig h Federation set up an advisory panel to advise o n box-office receipts encouraged DALTA to rene w music-making amongst children and young people . their offer at once for the Autumn of 1972. All indications then were that WNO 's future prospects lay in extending its touring activities - the more s o Welsh National Opera Company because of inquiries as to the Company's availabilit y In April 1971, WNO faced a deficit of£150,000 , for European Festivals. accumulated over three successive years of working to virtually a standstill grant when costs were Other than Cardiff (two seasons), Swansea and escalating steeply - mainly in areas outside Llandudno, the Company appeared also at

42 Haverfordwest, Aberystwyth, Wrexham and Rhyl . Including the DALTA tour, this amounted t o eighteen full playing-weeks . In addition, seventy-eight performances were given by the Company's `Oper a for All' group and twenty-two concerts were give n by the professional Chorale . Two full-scale choral concerts were given in Swansea's Brangwyn Hall, and a recording was made for EMI of Daniel Jones' choral work, The Country Beyond the Stars .

Appointments and retirement s The following retired from the Council at the end of 1971 : Mr Kenneth Loveland, Miss Sian Phillips , Miss D. E. Ward and Mr Tudur Watkins . Mr T. M. Haydn Rees and Mrs Elsie Williams were re-appointe d for a further term. New appointments to the Counci l were : The Marchioness of Anglesey, Judge Bruce Griffiths, Mr R . Gerallt Jones, Mr Charles Langmaid , Mr Wynford Vaughan Thomas and Miss Mena i Williams.

Honours The Council wishes to offer the Chairma n congratulations on being made Knight Bachelor i n the Queen's Birthday Honours List.

The Council also wishes to congratulate the Vice-Chairman on his being awarded an Honorary Doctorate of Law by the University of Wales.

43

The Arts Council of Annual accounts Great Britain for the year ended 31 Marc h 1972

Table page 46 Notes on accounts

A 47 Awards to artists 1971/72

B 56 Housing the Arts 1971/7 2

C 57 Accumulated deficiency grants

D 58 Analysis of drama grants and guarantees 1971/72

E 61 Promotion of new drama and neglected play s

F 66 National Manuscript Collection of Contemporary Writer s 1971/7 2

G 67 Special Funds 1971/72

H. A. Thew Fund

Mrs Thornton Fund

Compton Poetry Fund

Henry and Lily Davis Fun d

Guilhermina Suggia Gift

H 68 Art exhibitions 1971/72

70 Arts Council of Great Britain accounts

98 The Scottish Arts Council accounts

114 The Welsh Arts Council accounts Notes on accounts

The Council received a further donation of £ 1,500 fro m IBM (United Kingdom) Limited. An amount of £1,100 is t o be applied out of the donation towards the Council's cost s of touring Mr Peter Logan's `Kinetic Ballet', £300 wa s made available to Foots Barn Theatre, Cornwall, and the remaining £100 was allocated to the Polyphonia Orchestra .

During the year under review the Dio Fund was create d and the Council assumed responsibility for its adminis- tration. It is hoped to award annually a music commission fee and the first such award will be offered during 1972/73 .

The Scottish Arts Council's Revenue and Expenditur e Account and Balance Sheet record the sale during the yea r under review of No .l I Rothesay Terrace, Edinburgh , which had been the Council's Scottish headquarters since May 1954 . Additional expenditure was incurred in furthe r alterations and improvements to the Charlotte Square premises which became the Scottish headquarters in December 1971 .

The Balance Sheet also records that during the year th e Council purchased the freehold of No . 5 Blythswood Square, Glasgow, for £35,661 . This building contains a fin e exhibition gallery which had been leased to the Council by the Glasgow Lady Artists' Club since 1966/67 and thi s purchase ensures the continuation of the Council's established exhibition activities in Glasgow .

The grant of E21,564 to the Traverse Theatre Club, show n in Schedule 3 of the Scottish Arts Council's accounts , includes sums totalling £1,177 in respect of donations received by the Council on the understanding that the y would be paid to the Club .

46

Table A Awards to artists 1971/72

ENGLAND MUSIC John Joubert Northern Sinfonia Concert Society ; Sheffield Bach Commission fees Society John Lambert New London Ensembl e Richard Alston Contemporary Dance Trust Pietje Law Ballet Ramber t Gideon Avrahami Ballet Rambert Bruce Lawrence Aylesbury Choral Society Nadine Baylis Ballet Rambert (two Nicola LeFanu Levon Chilingirian commissions) David Lord Northern Sinfonia Concer t David Bedford Omega Players Society Richard Rodney English Bach Festival Trust ; David Lumsdaine Cheltenham Arts Festival s Bennett King's Singers Elisabeth Lutyens London Sinfonietta Lennox Berkeley Rodney Slatford Elizabeth Maconchy Cheltenham Arts Festival s Stephen Block Handel Society (Lewisham) John Manduell New London Ensembl e Christopher Bruce Ballet Rambert John McCabe Three Choirs Festival Geoffrey Burgon Wooburn Festival Society Worcester Committee Geoffrey Bush Guildhall School of Music John Mayer City of Westminster Festival and Drama Norman Morrice Ballet Rambert (two Charles Camilleri Cheltenham Arts Festivals commissions) Philip Cannon Aylesbury Choral Society Tony Oxley Musicians' Co-operative Richard Caswell Ballet Rambert Paul Patterson London Student Chorale ; Bruce Cole Fires of London ; Thames Mayfield Festiva l Concerts Society Leslie Phillips London Borough of Redbridge Graham Collier Camden Festival Norman and Kent Opera (libretto) Justin Connolly Eiko Nakamura Joanna Plat t Edward Cowie Falmouth Youth Orchestra Eddie Prevost Music Now Peter Curtis Ballet Rambert Alan Ridout Canterbury Choral Society ; Martin Dalby Baccholian Singers Kent Opera John Dankworth City of Westminster Festival David Rowland London Bach Societ y Harold Darke Barnet Borough Arts Council Alexander Roy International Ballet Carava n Peter Maxwell Davies New Philharmonia Orchestra John Rutter Richard Hickox Singers an d Peter Dickinson Orchestra da Camera Orchestra Richard Drakeford Little Missenden Festival Leonard Salzedo Ballet Rambert Tony Duhigg British Dance Drama Theatre Madeleine Samuelson Dance for Everyone David Fanshawe New London Ensemble Yoma Sasburgh British Dance Drama Theatre Jon Field British Dance Drama Theatre Joseph Scoglio Ballet Rambert Benjamin Frankel Stroud Festival Peter Sculthorpe Cheltenham Arts Festival s Christina Gallea International Ballet Caravan Robert Sherlaw Johnson Louis Halsey Singers Peter Gellhorn Richmond-upon-Thames Arts Naresh Sohal Philip Jones Brass Ensemble Council and Barnes Music Giles Swayne Potheino s Club Phyllis Tate Royal Scottish Academy of Edward Gregson London Borough of Music and Dram a Redbridge John Tavener Nash Concert Society; Omeg a Inglis Gundry Opera Piccino Players ; Little Missenden Barry Guy London Jazz Composers Festival Orchestra Jonathan Taylor Ballet Ramber t Iain Hamilton London Philharmonic Malcolm Williamson Scunthorpe Civic Theatre ; Orchestra The Scholars John Haynes Northern Dance Theatre Douglas Young Polyphonia Michael Holt Northern Dance Theatre Anthony Hymas Ballet Rambert (two commissions) Suzanne Hywel Northern Dance Theatre Gordon Jacob Kent Wind Society Wilfred Josephs Hull Philharmonic Society

47

Table A Awards to artists 197172 (continued )

ENGLAND MUSIC (continued) Norman Florence Michael Gaunt Bursaries Anthony Hill Carolyn Hutchinson Jane Attfield Bernard Jay Harry Beckett Joanna Kingsma n David and Naomi Hadda Terry McEntee Ian V. Hays Peter Moynihan James Judd Elisabeth Pearso n William Lennox Andrew Porter Nicholas Maw Nige] Rideou t Colin Metters Meryl Robertso n Mary Mumford Eileen Thorns Robert Stewart Cheryl-Anne Wilson Michael Osborne Michael Pyne Short course in Business Studies Leon Rosselson (Polytechnic School of Management Studies ) Giles Swayne Trevor Watts Gillian Adam s Richard Armstrong Graham Barnes Andrew Douglas-Jones DRAMA David Edwards Clare Fox Playwrights Michael Gaunt Anthony Hill William Emms *Nottingham Playhouse Carolyn Hutchinson William Morrison *Stoke-on-Trent Theatre Joanna Kingsman Madeleine Southerby *Caryl Jenner Productions Sean McCarth y E. A. Whitehead *English Stage Company Peter Moyniha n Howard Barker Elisabeth Pearson Bolivar le Franc Felicity Pococ k Carey Harrison Andrew Porter Tom Mallin Nigel Rideout Mustapha Matura Meryl Robertso n David Mowat Leonie Scott-Matthew s Eileen Thorns Play commissions Cheryl-Anne Wilso n

Christopher Bond *Nottingham Playhouse Trainee designers Robert Furnival *Nottingham Playhouse Pat McGrath David Burrows Leicester Phoenix Theatre Alison Chitty *Stoke-on-Trent Theatre John Whiting awards David Fielding *Nottingham Playhouse Marshall Goodhew *Theatre Projects Lighting Mustapha Matura Diana Greenwood *Newcastle University Theatre Heathcote Williams Jenni Holland *English Stage Company Digby Howard *Leeds Playhouse Trainee administrators David Lay *Greenwich Theatre Poppy Mitchell *Newbury Watermill Theatre Shirley Matthews *National Theatre Mary Moore *Mermaid Theatre Gillian Adams Brenda Hartill Moores *National Theatre Richard Armstrong Anusia Nieradzik *National Theatre David Edwards Jilda Popplewell *Coventry Belgrade Theatre

48 Bob Ringwood *Camden Playhouse Produc- Phyllida Barlow tions Kate Barnard Andrew Sanders *Royal Shakespeare Theatre Al Beac h Di Seymour "English Stage Company Anthony Beers Paul Steinberg *Sheffield Crucible Theatre Jon Bird David Burrows Neville Boden Bronwen Casson Michael Booth Digby Howard Derek Boshier John G. Miller William Bowles Fionnuala Boyd Trainee directors Stuart Brisley Marc Chaimowicz Tim Appelbee Colin Cina John Burges s Stephen Clancy Robert Cushman Robert Clatworthy Andrew Dallmeyer Rob Con Michael Vaughan Edwards Barrie Coo k Ian Giles John Copnall Bruce Huett Alan Cox Misha Williams Roger Dainton Andrew Wistreich Clive Daly Christopher Davies Trainee technician s Hugh Davies Alan Davis Geoffrey Boswel l "Thorndike Theatre Michael Davi s Simon Bowler "Northcott Devon Theatre Peter Dockley Keith Fakenbridge 'Yvonne Arnaud Theatre Antony Donaldson Philip Rowe •Northcott Devon Theatre John Ernest Michael Williams Noel Forster John Fox Bursaries John Furnival Michael Gorman Jonathan Bowde n Laszlo Gyeman t Carolyn Gorney Don Hefferon Charles Lewse n Peter Hide Graeme Phillips Derek Hirst Colin Hitchmough Peter Hobbs George Hostler ART Sylvester Houedar d Francis Hoyland Commission s Malcolm Hughes Albert Hun t Cabot Industrial Development Company Limited Tony Ingra m Royal Victoria Hall Foundation Jim Ives University of Durham Trevelyan Colleg e Colin Jones Gareth Jones Discretionary awards T. Martin Jones Peter Kennard Maurice Agis Michael Kidner Richard Allen Robin Klassnik Anthea Alley Peter Kuttner Gillian Ayres Peter Layto n Jules Baker Peter Logan

49 Table A kisards to artists 1971 7 2 (continued)

ENGLAND ART (continued) Henry Graham Rayner Heppenstall Peter Lowe Thea Holm e Rory McEwen Anthony Howel l John McLean James Kirku p Paul Martin Paddy Kitchen David Medall a Barry MacSweeney Gustav Metzge r Harold Massingham Alan Miller Rollo Myers Roland Miller Shiva Naipau l Keith Milow Anthony Nayman James Moye s Hubert Nicholso n John Murph y Tony Parker Roy Naylor Tom Phillips Mike Nort h Malcolm Ritchi e Tom Phillips Dick Russell Carolan Price Penelope Shuttle Michael Rhode s Edward Storey Richard Rome Colin Thubron Christopher Sanderson Roy Oliver Walker David Saunder s Bernard Wall Tessa Schneidema n Elizabeth Webb D. J. Shepherd Terence Wheeler R. E. Sims Peter Whigha m Geoffrey Smedley Rosemary Smith Grants to poets (publication awards ) Jean Spencer Jeffrey Steele Maurice Carpenter Chris Steele-Perkin s Kevin Crossley-Holland Graham Stevens Zulfikar Ghose Teller Stoke s Keith Harrison Jan Suckling Brian Patten Homer Sykes Sally Purcell Peter Waldron R. S. Thomas David Whitaker Donald Ward Glynn Williams Gillian Wis e Grants to translators Magdalena Zeise l Michael Fineber g Tony Harrison A. M. Sheridan Smith LITERATURE Daniel Weissbort

Grants to writers Grant to publisher

A. Alvarez Calder and Boyars Limited Sven Berli n (`The Unicorn' by Martin Walser ) Peter Brooke Victor Carasov Kay Dick Patric Dickinson Gavin Ewart Colin Falck Donald Gardner

50 EDUCATION IN THE ART S

Polytechnic of Central London School of Managemen t Studies: Training Course in Arts Administratio n

Bursaries Lorne Cuthbert Richard Dawson Michael Grenste d Branwen Iorwerth Robert Jame s Paul Mason Mary-Jean McNeil Patricia Reynolds Peter Tanner Margaret Tolliday William Weston

51

Table A 1nards to artists 1971 7 2 (continued)

SCOTLAND MUSIC ART

Special grants Bursaries

Shaun Dillon Kenneth Dingwal l Peter Inness Alexander Fraser William Wordsworth Anthony Jones McLachlan McColl Commissions Campbell MacPhail Alistair Park Neil Butterworth *Edinburgh Corporation Iain Patterson Martin Dalby *John Currie Singers Shaun Dillon *Scottish Amateur Music Commission s Association Peter Inness Gerald Laing *Strathclyde University Thomas Wilson *Clarina Ensemble Ann Ross *Lennox Ensemble Merilyn Smit h John Taylor Bursaries

Margaret Bayne LITERATURE Shona MacLeod John McLeod Special award

Flora MacNeill DRAMA Bursaries Trainee designers George Campbell Hay Alena Balejova Tom Leonard Peter Bennion *Edinburgh Civic Theatre Tom McGrat h Nicholas Somerville *Perth Repertory Theatre Alisdair MacLean Kathleen Raine Trainee administrators Alan Spence Jack Withers Andrew Porter Nigel Rideout Publication awards

Bursaries Chaim Bermant George Mackay Brow n George Mackay George Bruce Brown *Perth Repertory Theatre Elspeth Davie Ian Brown *Edinburgh Civic Theatre Janet Dunbar Tom Buchan *Traverse Theatre Club George MacBet h William Corlett *Perth Repertory Theatre Norman MacCaig John Cumming Lea McNall y Andrew Dallmeyer *Edinburgh Civic Theatre John McNeilli e Philip Emanuel Iain Crichton Smit h Lindsay Kemp Christopher Sinclair Stevenso n John McGrath *Edinburgh Civic Theatre Professor Derick S . Thomson Hector MacMillan *Edinburgh Civic Theatre David MacNiven *Traverse Theatre Workshop Travel gran t Cecil P. Taylor *Traverse Theatre Worksho p William Watson *Perth Repertory Theatre Alan Bold

52 Grants to publishers

Caithness Books Calder & Boyars Limite d J. M. Dent & Sons Limite d Edinburgh University Press Macdonald Printers (Edinburgh) Limited Northern Hous e Oliver & Boyd Limited Ramsay Head Press Reprographia Scottish Theatre Editions

53 Table A Awards to artists 1971 7 2 (continued)

WALES MUSIC John Rutter Cardiff Polyphonic Choir Jim Samson Cardiff Festival of 20th Centur y Bursaries Music Lower Machen Festival Gareth Davies Humphrey Searle Cardiff Festival of 20th Century Hazel Hibber t Music Eirian James Robert Smith *Royal National Eisteddfod of Alun Jenkins Wales Patricia O'Neill Robert Swain Cardiff Festival of 20th Century David Porter Music Dewi Watkins Lower Machen Festival Janet Watt s Phyllis Tate Cardiff Polyphonic Choir Nigel Waugh Raymond Warren Cardiff University College David Wynne Guild for the Promotion o f Commissions Welsh Music

Eric Ball Lower Machen Festival Adrian Beaumont Cardiff Festival of 20th Century DRAMA Music Lennox Berkeley North Wales Music Festival Bursaries Mervyn Burtch Llantilio Crossenny Festival Arnold Cooke Cardiff University College Gillian Adams Martin Dalby Cardiff Festival of 20th Century Wynford Ellis Owen Music Dilys Elwyn Edwards W. H. Davies Centenary Guaranteed royalty scheme Celebration Committee P. Racine Fricker Cardiff Festival of 20th Century Ewart Alexander Music G. O. M. Jones John Gardner Cardiff Festival of 20th Century Elaine Morgan Music David Harries University College of Wales- Aberystwyth ART Tony Hewitt-Jones Cardiff University College Alun Hoddinott Cardiff Polyphonic Choir Design grants to publishers Vale of Glamorgan Festival Royal Philharmonic Orchestra Gwasg Gomer Urdd Gobiath Cymru Elgar Howarth Cardiff Festival of 20th Century Design grants to designers Music John Hywel Lower Machen Festiva l Jeff Clement s Daniel Jones Royal Philharmonic Orchestra Design Systems *Royal National Eisteddfod of Douglas Halliday Wales Susan Shield s Swansea Festival William Mathias Urdd Gobiath Cymru Works of art for public buildings Cardiff Polyphonic Choir BBC Welsh Orchestr a Ebbw Vale Urban District Council Llandaff Festiva l Sculpture by Gareth Evans John Metcalf Cardiff Festival of 20th Century Gwynedd Police Authority Music Sculpture by Jonah Jones Lower Machen Festiva l Lampeter: St David's College North Monmouthshire Festival Sculpture competition of the Arts T. H. Parry-Williams *Urdd Gobiath Cymru

54

Bursary Alun Richard s John Rowlands William Wilkins Marion Griffith William s R. Bryn Williams Commission s Rhydwen Williams

David Hur n Honours Ivor Roberts-Jones Terry Setch Glyn Jones John Gwilym Jones Film-making Prizes BBC Wales TV film s Christopher Billington Pennar Davies Cardiff Cine Society Emyr Humphreys Laurie Davies Bobi Jones Richard Traylor-Smith Richard Jones David Walto n Fees

LITERATURE S. J. Adams Yeats Summer School Gwyn Williams Brian Merriman Summer School Grants to publisher s

Second Aeon Christopher Davies Limite d Gwasg Gee Gwasg Gomer Hutchinson Publishing Group Limited John Jones (Publishers) University of Wales Pres s

Grants to translators

Wyn Griffiths T. H. James Idal Walters Nina Watkins Gwyn Williams

Bursaries

Ron Berry Gareth Alban Davies T. Wilson Evan s Bryn Griffiths John L . Hughe s Mary Hughe s Rodney Hyde-Thompson Peter Preece Caradog Pritchard

* In these cases payment is made to the organisatio n shown.

55

Table B Housing the Arts 1971 72

In 1971/72 the Arts Council's grant-in-aid of £11,900,000 included £770,000 for Housing the Arts. The details of this sum can found at the end of Schedules 3 where £618,000 is accounted for in England £75 000 in Scotlan d and £77,000 in Wales. The Arts Council has also been empowered to enter into commitments to make provision for Housing the Art s up to a total of £430,000 over and above the cash grants of£770,000. The details of this commitment as at 31 March 1972 are set out below :

England Sheffield: Crucible Theatre Trust Limited 128,000 Leicester City Council 120,000 Farnham Repertory Theatre Trust 27,500 Birmingham : Cannon Hill Trust Limited 25,000 Wycombe : South Bucks Arts Trust 15,000 Avoncroft Museum of Buildings Limited 13,000 Worcester Arts Association (SAMA) Limited 7,500 Hartlepool County Borough Council 5,000 Workington Borough Council 5,000 Bishop's Stortford : Hertfordshire and Essex Malthouse Trust Limited 3,000 349,000

Scotland University of Glasgow 11,000

Wales University College of North Wales, Bangor 70,000 £430,000

56

Table C Accumulated deficiency grant s Included in the amounts shown in Schedules 3

England Sadler's Wells Trust (Coliseum) Limited 253,15 3 Ballet for All 21,815 Candida Plays Limited 9,250 London : Greenwich Theatre Limited 5,000 Liverpool Repertory Theatre Limited 4,000 Northern Dance Theatre Limited 2,977 Oxford : Museum of Modem Art Limited 2,922 Exeter : Northcott Devon Theatre and Arts Centr e 2,000 Plymouth Arts Guild 1,500 Nottingham Theatre Trust Limited 1,200 New Shakespeare Company Limited 1,000 Oxford : Bear Lane GalleryLimited 390 Ludlow Festival Society Limited 276

Scotland Scottish Opera Limited 40,689 Edinburgh : Traverse Theatre Club 2,000 Printmakers Workshop 230

Wales Welsh National Opera Company Limited 162,98 5

Note: The above amounts include commitments and are not necessarily the amounts paid.

57

Table D Analysis of drama grants and guarantee s

for the year ended 31 March 1972

Revenue Capital New Training Young Total grants or expendi- drama and schemes People's guarantees ture neglected Theatre plays activities £ £ £ £ £ £ ENGLAND Billingham Forum Theatre 12,000 12,000 Birmingham : Cannon Hill Trust Limited 350 33,000 33,350 Birmingham Repertory Theatre Limite d 84,000 84,000 Bolton : Octagon Theatre Trust Limite d 17,500 850 1,960 7,000 27,310 Bristol Old Vic Trust Limited 65,000 400 1,200 750 67,350 Bromley Theatre Trust Limite d 11,650 11,650 Cambridge Theatre Company Limited 12,500 396 350 13,246 Canterbury Theatre Trust Limited 18,750 18,750 Cheltenham Everyman Theatre Company Limite d 24,150 650 350 25,150 Chester: Gateway Theatre Trust Limite d 19,500 19,500 Chesterfield Civic Theatre Limited 11,000 1,500 12,500 Chichester Festival Theatre Productions Company Limite d 5,000 5,000 Colchester Repertory Company Limite d 33,500 800 500 34,800 Coventry : Belgrade Theatre Trust (Coventry) Limite d 55,500 1,400 250 364 2,700 60,214 Crewe Theatre Trust Limite d 12,500 12,500 Derby Playhouse Limited 22,000 350 22,350 Exeter : Northcott Devon Theatre and Arts Centr e 35,500 2,500 600 671 6,325 45,596 Farnham Repertory Company Limite d 13,000 1,050 1,250 15,300 Guildford : Yvonne Arnaud Theatre Management Limited 25,000 10 25,010 Harrogate (White Rose) Theatre Trust Limited 16,500 850 17,350 Hornchurch Theatre Trust Limite d 24,750 700 25,450 Ipswich Arts Theatre Trust 25,600 700 3,250 29,550 Kingston-upon-Hull : Hull Arts Centre Limited 6,000 480 6,480 Lancaster: Century Theatre Limited 44,500 430 1,300 3,600 49,830 Leatherhead: Thorndike Theatre (Leatherhead) Limite d 38,000 500 194 1,000 39,694 Leeds: Interplay Trust 680 680 Leeds Theatre Trust Limite d 32,000 700 143 5,000 37,843 Leicester Theatre Trust Limite d 28,750 500 1,050 221 2,000 32,52 1 Lincoln Theatre Association Limited 32,250 1,125 1,000 34,375 Liverpool : Merseyside Everyman Theatre Company Limite d 800 2,800 25,000 28,600 Liverpool Repertory Theatre Limite d 59,000 900 59,900 London : Caryl Jenner Productions Limite d 375 3,024 28,742 32,141 English Stage Company Limited 100,000 1,000 650 3,750 105,400 Greenwich Theatre Limited 26,000 500 1,400 429 2,450 30,779 Hampstead Theatre Club Limited 10,000 2,450 12,450 Inter-Action Trus t 11,200 2,600 5,650 19,450 Mermaid Theatre Trust Limited 44,000 1,400 390 45,790 National Youth Theatre 950 8,000 8,950 New Shakespeare Company Limited 2,750 2,750 Pioneer Theatres Limited 10,000 10,000 Polka Childrens' Theatre Limited 2,644 2,644 Theatre Centre Limited 22,000 22,000 Manchester : Sixty-Nine Theatre Company Limited 31,500 31,500 Newbury : Watermill Theatre Limited 500 225 725 Newcastle-upon-Tyne: Tyneside Theatre Trust Limited 27,000 800 442 3,025 31,267 Northampton Repertory Players Limite d 21,500 21,500 Nottingham Theatre Trust Limite d 77,000 2,780 403 2,700 82,883 Oldham Repertory Theatre Clu b 11,000 11,000 Oxford : Meadow Players Limite d 63,000 1,750 64,750 Plymouth Arts Guil d 5,000 5,000 Richmond Theatre Productions Limited 11,000 350 11,350

Carried forward £1,231,850 £18,826 00,094 £4,142 £175,266 £1,460,178

58

Revenue Capital New Training Young Total grants or expendi- drama and schemes People's guarantees tune neglected Theatre plays activities £ £ £ £ £ £ Brought forward 1,231,850 18,826 30,094 4,142 175,266 1,460,178 Salisbury Arts Theatre Limited 25,000 350 1,500 _26 1850 Scarborough Theatre Trust Limited 3,500 450 _ 700 _4 1650 Sheffield: Crucible Theatre Trust Limited 80,000 800 1,220 390 7,500 89,910 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 27,500 500 3,450 _ 221 31700 35,37 1 University of Sussex (Gardner Arts Centre) 3,600 - 3,600 Watford Civic Theatre Trust Limited 14,500 1,050 _ 3,950 19,500 Worcester Arts Association (S .A.M.A.) Limited _ 11,500 700 150 12,350 Worthing and District Connaught Theatre Trust Limited 17,500 2,000 350 2,700 22,550 York Citizens' Theatre Trust Limited 36,500 1,000 80 1,498 39,078

Action Space 200 200 Aurora Productions 345 345 Basement Theatre Limite d _ 1,000 204 1,820 3,024 Black Box Partnership Limite d _ 5,500 - 5,500 820 Camden Playhouse Productions Limited _ 6,000 2,610 210 _81 The Combination Limited 8,000 ---750 --- 8,750 The Dark and the Light Theatre Limited 1,000 350 1,350 The Freehold_ Theatre Company Limited 5,500 - - -_5,500 Hana No Mask Company 150 150 Incubus Theatre Company 346 346 Jean Pritchard Management Limited 258 - - 258 Ken Campbell's Road Show 800 _ 1_,1UU Kindred Centre for Playwrights 474 474 King's Head Theatre Club _2,500 786 3,286 Lancaster Orbit Limited 350 356 London La Mama Troupe 600 _ - 600 London Theatre Group 345 345 Low Moan Spectacular - _ 1,750 300 _ 2,050 Mokadi Productions Limited 250 250 Original Productions 258 - 258

Oval House _ _ _ _ _ 165 165 People Show 2,000 2,000 People Time/Space 1,000 _ 1,000 Pip Simmons Theatre Group 7,000 311_ 7,311 Portable Theatre Limited 9,470 157 Quipu Productions Limited 1,000 _ 2,130 3,130 Recreation Ground 759 759 Richmond Fringe Theatre Group_ 121 The Section _ 316 _ 316 7 :84 Theatre Company 750 400 463 1,613 The Soho Theatre 2,905 415 3,320 Theatre 84 1,050 _ 1,050 Theatre Projects Lighting_Limited 351 351 T P Productions 239 239 The Triple Action Theatre Group 500 500 The Welfare State _ 750 375 1,125

Association ofBritish Theatre Technicians 250 6,072 6,322 - - - _ 375 British Centre of the International Theatre Institute - - 375 - - British Drama League 2,000 - - 2,000

Carried forward £1,511,750 £26,538 £51,264 £11,551 £197,214 £1,798,317

59

Table D knalysis of drama grants and guarantees (continued)

Revenue Capital New Training Young Total grants or expendi- drama and schemes People's guarantees ture neglected Theatre plays activities £ £ £ £ £ £ Brought forward 1,511,750 26,538 51,264 11,551 197,214 1,798,31 7 British Institute of Recorded Sound 300 300 Council of Repertory Theatres 500 500 Theatres' Advisory Counci l 500 500

Bursaries 6,000 19,059 1,160 26,21 9

£1,51 ,05 06-,578- E377,76-4 £30,610 £198,374 £1,825#6

Revenue Capital New Transport Training Young Total grants or expendi- drama subsidies schemes People's guarantees ture Theatre activities £ £ £ £ £ £ SCOTLAND Aberdeen : University of Aberdee n 50 50 Cumbernauld Theatre Group 747 747 Dervaig Arts Theatre Limited 1,930 1,930 Dundee Repertory Theatre Limite d 30,330 650 524 300 3,500 35,304 Edinburgh : Children's Theatre Workshop 150 150 Edinburgh Civic Theatre Trust Limited 52,270 1,000 900 350 325 5,500 60,345 The Pool Lunch-Hour Theatre Club 250 250 Traverse Theatre Club 20,177 1,387 21,564 Traverse Theatre Workshop 2,250 200 2,450 Glasgow : Citizens' Theatre Limited 66,720 4,675 750 300 6,500 78,945 (including Close Theatre Club) University of Glasgo w 1,000 1,000 Perth Repertory Theatre Limited 26,500 3,810 642 150 416 2,750 34,268 Pitlochry Festival Society Limite d 25,800 600 2,250 28,650 St Andrews : Byre Theatre of St Andrews Limite d 6,000 350 400 100 6,850 University Mermaid Drama Society 50 50 University of Strathclyde 100 100

British Centre of the International Theatre Institute 100 100 Council of Repertory Theatres 75 75 Prospect Productions Limited 900 900 Scottish Theatre Guil d 500 500 Shanter Productions 500 500 Stage Company (Scotland ) 700 700 7:84 Theatre Company 125 125 Training Schemes Bursarie s 947 947

Bursaries 6,100 6,100

£241,577 £11,232 £5,803 £1,800 71,688 £20,500 £2 2,600

60

Table E Promotion of new drama and neglected play s

First Professional Productions Birmingham : Cannon Hill Trust Limited The Jockey Drives Late Henry Livings Nights Bolton : Octagon Theatre Trust Limited Jack Tina Crag g Bird of Contention Sven Clausen translated by Peter and Ann Thornton The Sunday Walk Georges Michel translate d by Jean Benedett i Coming of Age Wilfred Harrison Bristol Old Vic Trust Limited Fears and Miseries of th e Bertolt_Brecht translated by Third Reich Paul Kriwoczek Flight Mikhail Bulgakov trans- lated by Michael Glenny Cambridge Theatre Company Limited You and Your Clouds Eric Westphal translated by Richard Cottrel l Century Theatre Limited How to Grow a Guerilla David Pownall All the World should be David Pownall

Professor Quickety Thinks Devised by Young Noople's and the Klomper King Theatre Company Cheltenham Everyman Theatre Company Limited - The Law and Order Gang Betty Paul and Peter Lambda Coventry : Belgrade Theatre Trust (Coventry) Limited The Siege ofBelgrade Castle Devised by Young People's Theatre Company Derby Playhouse Limited A Plague on All the Houses John Haggerty Exeter : Northcott Devon Theatre and Arts Centre Happy Families Bernard Goss Farnham Repertory Company Limited The Woman in White Wilkie Collins adapted by Guy Slater Harrogate (White Rose) Theatre Trust Limited What Did You Do in the John Haggerty War. Mum? Christopher Columbus Michel de Ghelderode translate d Hornchurch Theatre Trust Limited If You Go Down in the Peter McKelvey

Bird's Nest Peter Whitbread Hull Arts Centre Limited Truth or Dare Brian Clark Marvin Meades' Revolt Harold Duffin Ipswich Arts Theatre Trust Devil Take Ye! Alan Gosling Break of Noon Paul Claudel translated by Jonathan Griffin Leeds Theatre Trust Limited Tight at the Back Leonard Barras Pictures in a Bath of Acid Colin Wilson Leicester Theatre Trust Limited The Banana Box Eric Chappel l Open House Leslie Sands Liverpool : Merseyside Everyman Theatre Company The Cleverness of Us C. P. Taylor Limited . Welfare Charles Wood Everyman 71 Programme ofplays by vounQ authors _ Box Paul Harman and Rober t Tomson Simple Simon C. G. Bond Not So Simple Simon C. G. Bond Soft or a Girl John McGrath

61

TableE Promotion of new drama and neglected play s (continued)

Play Author Liverpool Repertory Theatre Limited Lighthearted Intercourse Bill Naughton Borstal Boy Brendan Behan London : Aurora Productions Oscar X Tudor Gates Basement Theatre Limited The Object Giles Coope r The Position Grotesque Stanley Price Shelter Alun Owen Back on Your Heads Walter Hall A Rancid Pong Mike Leigh Double Bill, comprising Apricots Trevor Griffith s Calley Manson Andrew Dallmeyer The Kapo Andrew Mullett The Clinic Peter Crichton Williams A Day for Surprises John Guar e The Ant and The Grasshopper Keith Darvil l Hot Pants Andrew Carr Going Home William Trevor Evelyn Rhys Adrian Double Bill, comprising Cut Michael Almaz The Unexpurgated Memoirs Jules Feiffer of Bernard Mergendeiler Camden Playhouse Productions Limited Tira Tells All There is to Mike Weller Know About Hersel f The Critic As Artist Oscar Wilde adapted by Charles Marowitz Ritual For Dolls McEwan Green Double Bill, comprising Next and Sweet Eros Terrence McNally My Foot My Tutor Peter Handke Home Front Martin Walser George and Moira Entertain John Grill o a Member of the Opposite Sex to Dinner The Four Little Girls Pablo Picasso translated by Roland Penrose Edward - The Final Days Howard Barker Caryl Jenner Productions Limited The Disappearing Spell Christopher Broc Swag John Boland The Extraordinary Case of Gregory Marshal l the Kipper and the Cafe Double Bill, comprising Tam and Cam Katy Hounsel Robert Surprise II Paddy Campbel l The Dark and the Light Theatre Limited Kataki Shimon Wincelberg Greenwich Theatre Limited Fish Out of Water Feydeau translated by Ned Sherrin and Caryl Brahms A Liberated Woman Barry Reckord The Feydeau Farce Festival Bamber Gascoigne of 1909 The Performing Husband Donald Churchill

62

_ Play _ Author Hampstead Theatre_ Club Limited Disabled Peter Ra_nsley His Monkey Wife _ Sandy W_ilso_n _ The Great Exhibition David Hare Incubus Theatre Company- - - Sonny Boy's Egg Paddy Fletcher Jean Pritchard Management Limited The Grave _Melville Lovat t Lame Duck Robin Eddison _ Kindred_ Centre for Play_r_igh_t_s_ Orders from the 14th Richard Browner Dictator _ Triple Bill, comprising _ Paper Tiger Michael Almaz - Scream Kate Quillan AGame for Three Players Frank Wyma n _ King's Head Theatre Club Death in Leicester Roy Minton - _ London Theatre Group The Trial Franz K_afka adapted_ by Steven Berkoff_ _ Mermaid Theatre Trust Limited Hanky Park Walter Greenwood The Old Boys William Trevor _ Prometheus Bound Aeschylus adapted by Robert Lowell T The Price of Justice Albert Camus translated by _ Robert Baldic k Mokadi Productions Limited A Dream - or Perhap_s_It Isn't Luigi Pirandello translated__ _ by Frederick May _ Please Don't Play Elephant Leon Rosselson - _ Games on the Gras s _National Youth Theatre Slip Road Wedding Peter Terso_n Original Productions I Got to do Everything _ ___Kennet h Hill_ ------Myself - - - The Ledge Brian Henry . Philip Martin_ Quipu Productions Limited_ __The Deed - An Autumn in Braunstone_ Claude Duneto n ----Double Bill, comprising The Girl Who Didn't_L_ike David Halliwell _ Answers _ Lady David Cockshot _ Double Bill, comprising __ _ Blood on the Table David Mercer _ A Window_ in the Roof of _ Philip Martin the Sky House in a London Square Buzz Francis and Angela Crow _ Two Comic Sketches : An David H_alliwell Amour and A Feast _ Sinclair John McGahern _ The Thomson Report Peter Ransley A Hundred Watt Bulb George Thatcher One Long Hunt Philip Martin _ The Last of the Feinstein Tony Connor The Cell H. B. Kimmel

63 Table E Promotion of new drama and neglected plat s (continues!)

Play Author Recreation Ground Lieutenant Gustl Arthur Schnitzler translated by Peter Watson Steinway Gran d Ferenc Karinthy translated by Matyas Esterhazy Face Ache Howard Barker The Island of Slaves Pierre de Marivaux translated by Michael Hucks Wide Open Spaces Rene de Obaldi a translated by Donal d Watson 7 :84 Theatre Company Trees in the Win d John McGrath T.P. Productions Sarah and the Sax Lewis John Carlino The Old Soldier Charles Gray Theatre 84 Double Bill, comprising East West and The Story of Andrei Amalrik translated the Little White Bull by Daniel Weissbort Double Bill, comprisin g The Witnesses Tadeusz Rozewicz trans- lated by Adam Czerniawski _ Death in Instalments Janusz Krasinski translated_ by Edward Rothert Impromptus for Leisure : Rene de Obaldia translated Nitrogen, The Late and The by Donald Watson Twinkling Twins Newcastle-upon-Tyne : Tyneside Theatre The Grace Darling Sho w C. P. Taylor Trust Limited Sir Gawain and the Green Brian Stone and Peter Knight Stevens Play Strindber g Friedrich Duffenmatt translated by James Kirkup Nottingham Theatre Trust Limited The Swallow Garden Michael Payne and Jenn i Vaulkhard The Owl and the Battlements Beverley Cross A Life of the General Ronald Mavor The Green Leaves of Robert Furnival and Nottingham Pat McGrath Richmond Fringe Theatre Group Go Tell it on Table Mountain Evan Jones Richmond Theatre Productions Limited Samarkand Frederic Piffard Salisbury Arts Theatre Limited Package Deal Peter Robert Scott Scarborough Theatre Trust Limite d Time and Time Again Alan Ayckbourn One for the Road Ray Herman Sheffield : Crucible Theatre Trust Limited Words Norris Harvey Britannia's Boys Alan Cullen I Was Hitler's Maid Christopher Wilkinso n Wait for the Bell Rony Robinson Two Squared : Hopskotch and Norris Harvey Pussy Shades of Heathcliff John Spurling

64

Play Author _Stoke-on-Trent and North Staffordshire Conan Doyle Investigates Roger Woddis Theatre Trust Limited The Samaritan Peter Terson Hands Up - For You the Documentary-devised by War is Ended the Company The Time Travellers William Morrison _ The Old Wives' Tale, Parts Arnold Bennett adapted I and II by Joyce Cheeseman Aladdin and His Magic Lamp William Morriso n But Fred Freud Is Dead Peter Terson Watford Civic Theatre Trust Limited _ The Superannuated Man Kevin Laffan Grumbold Martin Canter Worcester Arts Association (S .A.M.A.) Limited Flibberty and the Penguin David Woo d

b Second Professional Productions Farnham Repertory Company Limited Who Was That Lady? John Albery and John Gould Lancaster Orbit Limited The Finest Family in the Land Henry Livings Leicester Theatre Trust Limited Straight Up Sydney Cheatle _ Liverpool : Merseyside Everyman Theatre Company The Foursome E. A. Whitehead

London : Camden Playhouse Productions Limited It's Called the Sugar Plum Israel Horovit z The Creditors August Strindberg, trans= lated by Michael Meyer A SkyBlue Life Howard Brenton Caryl Jenner Productions Limited Conn and the Conquerors of William Morrison

Hampstead Theatre Club Limited Bedtime and Butter Douglas Livingstone The Novelist Tom Malli n King's Head Theatre Club Package Deal Peter Robert Scott National Youth Theatre The Samaritan Peter Terson Quipu Productions Limited A Last Belch for the Great David Halliwell Auk Recreation Ground Pongo Plays : Bee Wine, Henry Livings The Rifle Volunteers and _ Conciliation The Section Double Bill, comprising Anna-Luse and The Diabolist David Mowa t 7 :84 Theatre Company Unruly Elements John McGrat h Nottingham Theatre Trust Limited Lilywhite Lies Alun Richard s

(c) Neglected Plays Bolton : Octagon Theatre Trust Limited The Milk Train Doesn't Tennessee Williams Stop Here Any More The Mock Doctor Moliere, translated by John Wood Century Theatre Limited Moby Dick - Rehearsed Orson Welles Exeter : Northcott Devon Theatre and Arts Centre The Fair Maid of the West Thomas Heywood London : Hampstead Theatre Club Limited Awake and Sing Clifford Odets Worthing and District Connaught Theatre Trust He Who Gets Slapped Leonid Andreyev, trans Limited lated by Grigori Zilbourg_ York Citizens' Theatre Trust Limited A Yorkshire Tragedy Anonymous

65 Table F National Manuscript Collection of Contemporary Writer s

The following accessions were made by the National Manuscript Collection o f Contemporary Writers during the year ended 31 March 197 2

Patric Dickinson Collection of manuscripts, typescripts and inscribed book s (bought from Dr J. Schwartz for the University of Birmingham )

Olivia Manning Manuscript of a novella, Ladies without Escort (bought from the author for the British Museum)

John Masefield Three holograph manuscripts (bought at a sale at Crewkerne for the British Museum)

Ezra Pound Manuscript material relating to the writing ofEzra Pound's Kensington, including letters from T . S. Eliot, 1908-2 1 (bought from Miss Patricia Hutchins for the British Museum )

Stevie Smith Manuscript of Novel on Yellow Paper (bought from Sotheby's for the University of Hull )

66 Table G Special Funds

Beneficiaries during the year ended 31 March 197 2

H. A. newFund Capriol Singers 50 Colin Carr ('cello) 100 Susan Moffat (violin) 60 Stephen Pratt 50

Mrs Thornton Fund Robert Clatworthy 250 Michael Kidner 50 Bryan Kneal e 300 Justin Knowles 250 Geoffrey Smedley 100

Compton Poetry Fund University of Hull 1,000

Henry and Lily Davis Fund Anthony Bailes (lute) 425 Angela Brownridge (piano) 300 Brian Burrows (tenor) 200 Shauna Hippisley (flute) 200 Alain Judd (bass-baritone) 200 Peter Knapp (baritone) 240 Nina Martin (violin) 150 Marilyn Minns (soprano) 750

_ Guilhermina Suggia Gift for the'Cello Robert Cohen 150 Tanya Hunt 250 Steven Isserli s 125 Richard Lester 125 Marius May 100

67 Table H Arts Council exhibitions held in Great Britai n during 1971/72

Note : L Exhibited in London R Exhibited in the Region s s Exhibited in Scotland w Exhibited in Wales

England Paintings, drawings, sculpture, etc WR Painting 1964-67 L Art in Revolution R Large Paintings wLR Blow-Up SR Constructions L Arnold Bocklin 1827-1901 LR Designs for the Theatre R Bill Brandt : photographs R Early Works (small sculpture) L The Ceramic Art of China : jubilee exhibition R Eight Individual s of the Oriental Ceramic Society R Sculpture 1960-67 R Concrete Poetry SR Henry Moore (sculpture and drawings) L Flemish Drawings of the 17th century from R Seven Sculptors the Lugt Collection R Twentieth-century Drawings 1 L `From Today Painting is Dead' : the R Twentieth-century Drawings 2 beginnings of photography WR Barbara Hepworth Exhibition temporarily taken over from th e L Ferdinand Hodler 1853-1918 Scottish Arts Council : SR Indian Paintings from Court, Town and Village R David Octavius Hill and Robert Adamson L Interval Exhibition : Large Paintings 1821-4 8 L Henri Laurens 1895-195 4 L 11 Los Angeles Artists Exhibitions temporarily taken over from the L Daniel Maclise 1806-1870 Welsh Arts Council: LR Mary Martin, Kenneth Martin R Work R Masterpiece : Treasures from the Collection R Worship of the Royal Photographic Societ y L Mir6 Bronzes Original prints WR Erwin Piscator : work in the theatre 1920-66 The Arts Council Collection : L Bridget Riley R Eight English Printmakers L Rothko : paintings 1948-70 LR New Prints 2 L Rietveld 1888-1964 LR New Prints 3 R Seligman Collection of Oriental Art LR New Prints by Denny, Dine, Hockney, Kitaj L Serpentine Gallery : exhibitions of young artists R New Prints by Kitaj and Paolozzi (1) Brookes, Hepher„Hutn, Mealing, Wyndham R Original Prints 1 (2) Hainsworth, Loveless, Miller, Richardson, R Original Prints 2 Tillyer R Pop Prints (3) Barnard, Claridge, Coles, Martin, Oginz, Stokes, Tebby Loan Collection : (4) Cartwright, Finn, North, Shepherd, Ward SR Kelpra Print s (5) Clucas, Cockrill, Jones, Knox, McLean , Suckling Reproductions : (6) Bird, Harris, Hostler, Ingram, Naylor, Orr, R Georges Braqu e Tagg, Wilson R Pieter Breughel the Elde r (7) Brick, Gattward, Herbert, Lanyon, Murphy, R Canaletto Percy R Human Figure in European Painting 3 R Matthew Smith WR Wassily Kandinsk y LR Snap! (organised jointly with Welsh Arts Council) R Monet and his Contemporaries R Helen Sutherland Collection LR Prehistoric Paintings L Systems R Rembrandt and his Contemporaries L Tantra : an exhibition exploring this Indian R Still Life cult of ecstasy R Vincent van Gogh R Young Contemporaries 1971 Seventy-two exhibitions were held during th e The Arts Council Collection : year (261 showings, including twenty-seven held i n R Arts Council Collection 1967-68 the Hayward Gallery, the National Portrai t R Arts Council Collection 1968-70 Gallery, the Serpentine Gallery, the Victoria an d R Arts Council Collection : small paintings and Albert Museum and the Whitechapel Art Gallery) drawings

68

Note : E Also exhibited in England

Scotland Art from the Faroe Islands Exhibitions temporarily taken over from th e Art Spectrum Arts Council of Great Britain : Awards to Artists exhibitio n Constructions The Belgian Contribution to Surrealis m Indian Paintings from Court, Town and Village Coia Caricatures Henry Moore Albrecht Diirer 1471-1528 New Painting 1961-64 Katie Horsman Pottery/Archie Brennan Tapestry E Jessie M. King 1875-1949 The following exhibitions were shown outside Gerald Laing Scotland: Locations Edinburgh D. O. Hill 1802-70, Robert Adamson 1821-48 The World of Bud Neill shown in Londo n New York Pop Prints Jessie M. King 1875-1949 shown in Londo n Sir William Quiller Orchardson, RA Paintings and Prints from the Scottish Art s Twenty-one exhibitions (including four from Council Collectio n England) were held in twenty-four differen t Scottish Realism buildings in eighteen centres (fifty-seven showing s Selection from the Scottish Arts Counci l in all) Collection Wemyss Ware

Wales Art Spectrum - Wales Exhibitions temporarily taken over from the Early Christian Monuments of Wales Arts Council of Great Britain : 50-odd Posters Painting 1964-67 Industrial Devices Still Life (reproductions) Recording Wales 2 : Chapels Recording Wales in Maps : Part one Arts Council of Great Britain exhibitions shown Recording Wales in Maps : Part two by them in Wales : Scoop, Scandal and Strife Blow-Up E Snap! (organised jointly with the Arts Council Barbara Hepworth of Great Britain) Wassily Kandinsky (reproductions) Worship Erwin Piscator : work in the theatre 1920-66 Sixteen exhibitions (including six from England ) were held in fifteen different buildings in twelve centres (twenty-nine showings in all)

69

The Arts Council of Great Britain

Revenue and expenditure account for the year ended 31 March 197 2

1970/7 1 £ £

7,268,124 General expenditure on the arts in England (see Schedule 1) 9,101,335

420,092 General operating costs in England (see Schedule 2) 496,51 4

45,633 Capital expenditure transferred to capital account 32,674

2,461 Reserve for capital purchases 11,679

1,066,500 Grant to Scottish Arts Council 1,334,862

585,000 Grant to Welsh Arts Council 963,235

14,132 Balance carried down 18,453

£9,401,942 £11,958,75 2

127,500 Balance carried forward to Balance Sheet 145,95 3

£127,500 £145,953

70

1970/7 1

11,900,000 9,300,000 Grant in Aid : HM Treasury 32,448 43,053 Provision for grant and guarantees in previous year not required 2,461 17,126 Transfer from Reservefor capital purchases

Sundry receipts _ Donations 6,500 Interest : bank and investment 8,930 Proceeds of sale of assets 3,724 Miscellaneous 4,689 41,763 23,843

£9,401,942 _ £11,958,75 2

0 113,368 Balance brought forward at 1 April 1971 - 127,50

14,132 Balance brought down 18,453

-- - L145,9S3 £127,500 - -

71

The Arts Council of Great Britai n

Balance Sheet as at 31 March 1972

Liabilities 1971

Capital account Balance as at 31 March 1971 404,96 4 Add: Capital expenditure during year transferred from -Revenue and expenditure -account 32,674 437,63 8 Less: Book value of assets sold or written off during year 12,948 404,964 - 424,690

C Carried forward fA 4

72

Assets

Leasehold property 105 Piccadilly. Improvements at cost as at 31 March 1971 36,166 Additions at cost 581

Hayward Gallery Improvements at cost as at 31 March1971 20,500 Addiiions at cost 11,289 31,789 56,666 68,536

Ot6c eequipment At valuation as at 31 March 1956 and additions at cost less items sold or written offto31March1471 42,087 Addiiions at cost -586 49-673 Less: items sold or written 6ff- 771 - 42,097 48,902

Motor vans and cars At cost as at 31 March 1971 7,174 Additions at cost 1,355 8,529 Less : items sold or written off 854

Cello 100--At- aluation as at 31-March 1960 100

Concert hall equipment At valuation as at 31 March 1956 and additions at cost less items sold or written off to 31 March 1971 14-101 Additions at cost 753 14,854 Less: items sold or written off 2.126 14,101 2,728

Curtain and costumes 73,250 Diaghilev and de Basil Ballets - at cost 73,250

Art exhibition equipment At valuation as at 31 March 1956 and additions at cost less items sold or written off to 31 March 1971 16,450 Additions at cost 624 17,074 Less : items sold or written off 7,197 16,450 9,877

£209,828 Carried forward £221,068

73

Balance sheet (continued)

Liabilities (continued) 1971

404,964 Brought forward 424,690

127,500 Revenue and expenditure account 145,95 3

151,753 Special funds (see Schedule 6) 163,60 7

18,497 Reserve for special art projects 18,497

383,112 Grants and guarantees outstanding 504,52 9

2,461 Reserve for capital purchases 11,679

Credit balances Sundry creditors and accrued liabilities 212,91 3 Interest free loan 4,037 Due to Welsh Arts Council 20,330 208,648 237,280

Note: No provision has been made for depreciation of assets : renewals are charged to Revenue .

Chairman : R. P. T. Gibso n Secretary-General: Hugh Willat t

£ 1,296,935 £1,506,235

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation s that 1 have required and I certify, as the result of my audit, that in my opinion this Account and Balance Shee t are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britai n and the state of their affairs . Signed : D. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 12 July 1972

74

Assets (continued) 1971 - - £ £ £ 209,828 Brought forward 221,06 8

Works of art At cost as at 31 March 1971 187,708 Additions at cost 10,479 - 198,187 Less: items sold or written off 2,000 187,708 196,18 7

Reproductions At valuation as at 31 March 1957 and additions at cost less items sold or written off to 31 March 1971 7,428 Additions at cost 7 7,428 7,435 404,964 - 424,69 0

151,753 Special funds (see Schedule 7) 163,607

Loan to associated organisation Secured by mortgage : Balance as at 31 March 1971 1,875 Less: repaid during year 125 1,875 1,750

Investments 4j per cent British Electricity guaranteed stock 1974/79 (Market value £2,553) 2,41 9 5 per cent Treasury Bonds 1986/89 (Market value £554) 647 Equities investment fund for charities (Market value £8,409) 3,082 - - 6,148 6,148

597,966 Grants and guarantees paid in advance 734,35 0

677 Restaurant and bar stocks 857

Debit balance s Sundry debtors and prepayments 95,076 Due from Scottish Arts Council 95 Due from Welsh Arts Council 25,000 Expenditure on future exhibitions in preparation 15,772 110,824 135,943

Cash On bank deposi t 20,000 -- On current accoun t 17,53 1 On dollar account 79 Imprest s 1,241 In hand 39 22,728 38,890

£1,296,935 £1,506,235

75

The Arts Council of Great Britain

Schedule 1 General expenditure on the arts in England for the year ended 31 March 197 2

The Royal Opera, Sadler 's Wells Opera, the Royal Ballet, National Theatre and Royal Shakespeare Companies (see Schedme 3) 3,468,907

Music Grants and guarantees (see Schedule 3) - 1,517,705

Opera for all : - - - - Gross expenditure 59,572 - Less: Revenue - - - --22,899------36,673

Wigmore Half: - Gross expenditure -- 31,233 Less: Revenue - -16,081 - -- - - 15,152 Less: surplus on Wigmore Hall catering 656 ------14,496 - - - 1,568,874

Drama Grants and guarantees (see Schedule 3) 1,825,836 Scheme expenses - - 1,91 5 - 1,827,75T

Touring (see Schedule 5) 340,04 f

Art Grants and guarantees (see Schedule 3) 112,206 Net cost of exhibitions (see Schedule 4) 236,65 6 Hayward Gallery 76,375 Hayward Gallery bookstall 1,633 Serpentine Gallery 2,505 - 317,169 -

Art film tours : Gross expenditure 10,300 Less : Revenue 4,556 5,744

Art films : Gross expenditure 33,171 Less: Revenue 1,303 31,868 Work in schools 225 - 467,21 2

Literature Grants and guarantees (see Schedule 3) 63,792 Poetry library 596 Writers' tours and writers in schools 4,258 68,646

Festivals Grants and guarantees (see Schedule 3) 52,841

Arts associations Grants and guarantees (see Schedule 3) 472,11 4

Carried forward £8,266,386

76 Brought forward 8,266,386

Projects, arts centres and clubs Grants and guarantees (see Schedule 3) 61,796

Transport subsidy Grants (see Schedule 3) 2,675

Education in the arts Grants and guarantees (see Schedule 3) 146,16 2 _ Training course in arts administratio n (Polytechnic School of Management Studies administration) 6,316 152,478

Housing the arts Grants (see Schedule 3) 618,000

Net expenditure as per Revenue and expenditure account £9,101,335

77

The Arts Council of Great Britain

Schedule 2 General operating costs in England for the year ended 31 March 1972

£ £ Salaries and wages: Music 36,049 Drama 34,154 Art 38,100 Literatur e 12,699 Finance 54,108 Administration 80,193 255,30 3 Superannuation 45,731 301,03 4

Travelling and subsistence 13,403

Rent and rates 87,963

Fuel, light and house expenses 24,358

Publicity and entertainmen t 17,240

Postage and telephone 13,840

Stationery and printing 7,106

Professional fees 1,78 1

Office and sundry expense s 14,96 8

Enquiries, surveys and investigation 14,821

Total as per Revenue and expenditure account £496,51 4

78

The Arts Council of Great Britain

Schedule 3 Grants and guarantees for the year ended 31 March 197 2 (including subsidies offered but not paid at that date)

Royal Opera House, Covent Garden Limited 1,640,000 Sadler's Wells Trust (Coliseum) Limited 1,118,153 National Theatre Board 415,72 4 Royal Shakespeare Theatre 295,03 0

Total as per Schedule 1 £3,468,907

Music Opera English Opera Group Limited 53,000 New Opera Company Limited 12,400 Handel Opera Society 4,500 Regional Opera Trust Limited (Kent Opera) 3,600 London Opera Group 3,000 Intimate Opera Society Limited 2,250 Opera Players Limited 850 Sacred Music-Drama Society 550 Chelsea Opera Group 425 Kentish Opera Group 370 Figaro Opera Group 300 University College London Music Society 300 Oxford University Opera Club 250 Opera Federation 200 Cambridge University Opera Company Limited_ 150 Polyphonia Limited 100 82,245

Ballet London Festival Ballet Trust Limited 150,000 Mercury Theatre Trust Limited (Ballet Rambert) 90,000 Ballet for All 55,000 Contemporary Dance Trust Limited 29,000 Northern Dance Theatre Limited 20,000 Educational Dance-Drama Theatre Limited 5,085 Dance for Everyone Limited 3,725 Moving Being Enterprises 1,450 354,26 0

Orchestras London Orchestral Concert Board Limited 230,500 Western Orchestral Society Limited 185,000 City of Birmingham Symphony Orchestra 110,00 0 Halle Concerts Society 110,00 0 Royal Liverpool Philharmonic Society 110,00 0 Northern Sinfonia Concert Society Limited 42,000 Eastern Authorities Orchestral Association 23,075

Carried forward £810,575 £436,505

79

Schedule 3 (continued)

£ £ £ Brought forwar d 810,575 436,505 Music (continued) Orchestras (continued) South East Region Orchestral Concerts : Folkestone Corporation 3,398 Eastbourne County Borough Counci l 3,027 Hastings County Borough Counci l 2,975 Medway Towns Joint Committee for Arts and Entertainment 2,450 Dorking Urban District Counci l 2,250 Guildford Corporatio n 1,750 Bexhill Corporatio n 300 16,15 0 Haydn-Mozart Societ y 8,500 Midland Sinfonia Concert Society Limited -- 7,000 Brighton Philharmonic Society Limited 6,500 Bristol Sinfonia Limite d 2,750 Robert Mayer Concerts Society Limited 826 Thames Concerts Society 800 Cheltenham Chamber Orchestra Association 500 Newbury String Players 200 853,801

Concerts _ National Federation of Music Societies 85,000 London Orchestral Concert Board Limited 33,000 Macnaghten Concerts 3,040 Aldeburgh Festival:_Snape Maltings 3,000 Park Lane Group Limited 2,200 Music No w - 1,800 Summer School of Music Limited 1,000 Jazz Centre Society Limited 914 The People Band 450 Musicians' Co-operative 390 National Trust Concerts Society Limited 350 Cannon Hill Trust Limited 300 Museum of Modern Art Limited (Oxford ) 165 Music Media Limited 165 Music at Higham 80 Oxford University Tape Recording Societ y 50 Ely Music Committee 44 Society for the Promotion of New Music 25 Thames Concerts Societ y 25 131,99 8

Festivals Aldeburgh Festival Associatio n 6,000 Birmingham Triennial Music Festival 5,000 Bishop's Stortford Arts Federation 100 Boxhill Music Festival Societ y 50 Cambridge Festival Association Limited 1,100 Cheltenham Arts Festivals Limite d 6,000 Great Horwood Festival of the Arts 100

Brought forward 18,350 1,422,304

80

£ £ Brought forward 18,350 1,422,304 Haslemere : The Dolmetsch Foundation 850 London : Camden Borough Council 4,500 ICA Limited : ISCM Festival 1971 11,750 Maidstone Area Arts Council 550 Oxford : English Bach Festival Trust 6,000 St Albans : International Organ Festival Society 500 Stour Music Committee 275 Three Choirs Festival Association Limited 4,000 Tilford Bach Society 800 Wangford Festival Company Limited 200 Wavenden Allmusic Plan 500 Wooburn Festival Society 125 48,400

Other activities Awards to Artists 20,356 British Council (Recordings) 7,500 Royal Albert Hall Appeal Fund 5,000 Youth and Music Limited 5,000 Royal Liverpool Philharmonic Society (Conductors' Seminar) 4,000 Bedworth Urban District Council (Piano) 1 ,000 County Borough of Birkenhead (Piano) 1,000 Music Information Centre Trust 1 ,000 Record Supervision Limited 900 Contemporary Concerts Co-ordination 450 Leigh Corporation (Piano) 350 National Music Council of Great Britain 225 Talbot Lampson School for Conductors and Accompanists 100 Manchester Tuesday Midday Concerts Society (Piano) 70 Yggdrasil (Electrical Equipment) 50 47,001

Total as per Schedule 1 £1,517,705

Drama Billingham Forum Theatre 12,000 Birmingham : Cannon Hill Trust Limited 33,350 Birmingham Repertory Theatre Limited 84,000 Bolton : Octagon Theatre Trust Limited 27,31 0 Bristol Old Vic Trust Limited 67,350 Bromley Theatre Trust Limited 11,650 Cambridge Theatre Company Limited 13,24 6 Canterbury Theatre Trust Limited 18,750 Cheltenham Everyman Theatre Company Limited 25,150 Chester : Gateway Theatre Trust Limited 19,500 Chesterfield Civic Theatre Limited 12,500 Chichester Festival Theatre Productions Company Limited 5,000 Colchester Repertory Company Limited 34,800 Coventry : Belgrade Theatre Trust (Coventry) Limited 60,21 4 Crewe Theatre Trust Limited 12,500 Derby Playhouse Limited 22,350

Carried forward £459,670

81

Schedule 3 (continued)

Brought forward 459,670 Drama (continued_) Exeter: Northcott Devon Theatre and Arts Centre 45,596 Farnham Repertory Company Limited - 15,30 0 Guildford : Yvonne Arnaud Theatre Management Limited 25,01 0 Harrogate (White Rose) Theatre Trust Limited 17,35 0 Hornchurch Theatre Trust Limited 25,450 Ipswich Arts Theatre Trust _ 29,550 Kingston-upon-Hull : Hull Arts Centre Limited 6,480 Lancaster: Century Theatre Limited 49,830 Leatherhead : Thorndike Theatre (L.eatherhead) Limited 39,694 Leeds : Interplay Trust 680 Leeds Theatre Trust Limited 37,843 Leicester Theatre Trust Limited 32 521 Lincoln Theatre Association Limited 34,375 Liverpool : Merseyside Everyman Theatre Company Limited 28,600 Liverpool Repertory Theatre Limited 59,900 London: Caryl Jenner Productions Limited 32,141 English Stage Company Limited _ 105,400 Greenwich Theatre Limited 30,779 Hampstead Theatre Club Limited 12,450 Inter-Action Trust 19,450 Mermaid Theatre Trust Limited 45,790 National Youth Theatre 8 950 New Shakespeare Company Limited - 2,750 Pioneer Theatres Limited 10,000 Polka Children's Theatre Limited 2,644 Theatre Centre Limited - 22,000 Manchester : Sixty-Nine Theatre Company Limited 31,500 Newbury: Watermill Theatre Limited 725 Newcastle upon Tyne : Tyneside Theatre Trust Limited 31,267 Northampton Repertory Players Limited 21 500 Nottin am Theatre Trust Limited 82,883 Oldham Repertory Theatre Club -- 11,000 Oxford : Meadow Players Limited 64,750 Plymouth Arts Guild _ 5,000 Richmond Theatre Productions Limited 11,350 Salisbury Arts Theatre Limited 26,850 Scarborough Theatre Trust Limited - 4,650 Sheffield : Crucible Theatre Trust Limited 89,91 0 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 3.5,37 1 Sussex University (Gardner Centre for the Arts) 3,600 Watford Civic Theatre Trust Limited 19,500 Worcester Arts Association (SAMA) Limited 12,350 Worthing and District Connaught Theatre Trust Limited 22,550 York Citizens' Theatre Trust Limited 39,078

Action Space - 200 Aurora Productions 345 Basement Theatre Limited - 3,024 The Black Box Theatre Partnership _ 5,500 Camden Playhouse Productions Limited

Carried forward £1,731,926

82

Brought forward 1,731,926 The Combination Limited 8,750 The Dark and the Light Theatre Limited 1,350 The Freehold Theatre Company Limited 5,500 Hana No Mask Company 150 Incubus Theatre Company 346 Jean Pritchard Management Limited 258 Ken Kindred Centre for Playwrights 474 King's Head Theatre Club 3,286 Lancaster Orbit Limited 350 London La Mama Troupe 600 London Theatre Group 345 Low Moan Spectacular 2,050 Mokadi Productions Limited 250 Original Productions 258 Oval House 165 The People Show 2,000 People Time/Space 1,000 Pip Simmons Theatre Group 7,31 1 Portable Theatre Limited 9,627 Quipu Productions Limited 3,130 Recreation Ground 759 Richmond Fringe Theatre Group 121 The Section 316 7 :84 Theatre Company 1,61 3 The Soho Theatre 3,320 Theatre 84 1,050 Theatre Projects Lighting Limited 351 TP Productions 239 The Triple Action Theatre Group 500 The Welfare State 1,125

Association ofBritish Theatre Technicians 6,322 British Centre of the International Theatre Institute 375 British Drama League 2,000 British Institute of Recorded Sound 300 Council of Repertory Theatres 500 Theatres' Advisory Council 500

Bursaries 26,21 9

Total as per Schedule 1 £1,825,836

Art Bath : Holburne of Menstrie Museum 500 Birmingham : Cannon Hill Trust Limited 3,500 Ikon Gallery Limited 2,500 Bristol: Amolfini Gallery Limited 7,000 Colchester : Victor Batte-Lay Trust 500

Carried forward £14,000

83

Schedule 3 (continued)

Brought forward 14,000 Art (continued) Folkestone : New Metropole Arts Centre Limited 3,000 Leeds: Park Square Gallery Limite d 1,500 London : Action Space 1,000 Art Information Registry Limited 4,000 Artists International Association 500 Artist Placement Group Research Limited 3,000 Greenwich Theatre Limited 1,000 Institute of Contemporary Arts Limited 5,200 Morley College 850 Photographers' Gallery Limited 3,130 Printmakers' Council 400 Project 84 75 Space Provision (Artistic, Cultural and Educational) Limited 3,250 Space Structure Worksho p 1,000 UK National Committee of the International Association of Art 400 Whitechapel Gallery Limited 9,000 Newlyn Society of Artists 1,000 Norfolk Contemporary Art Society 150 Nottingham : Midland Group Gallery 6,750 Oxford: Bear Lane Gallery Limited 2,300 Museum of Modern Art Limited 9,522 Penwith Society of Arts 1,750 Sunderland : Ceolfrith Arts Centre 500 73,277 Grants and guarantees towards exhibitions : Birmingham : City Museum and Art Gallery : Modern French Tapestries 500 Brighton Polytechnic: Photographs by Jim Arnoul d 150 Bristol Arts Centre : Dorothy's Umbrell a 150 City Art Gallery : Adrian Heat h 200 Cambridge : Kettles Yard Gallery : Cunio Amiet/Giovanni Giacomett i 100 Eastbourne : Towner Art Gallery: Inigo Jones 150 The Lutyens Family 150 Exeter College of Art : Prints by Patrick Caulfiel d 110 Harrogate Festival of Arts and Sciences: Artism/Lifeis m 500 Lancaster : University of Lancaster : Alan Davie/David Hockne y 255 Leigh Corporation : Henry Moore Sculpture, Drawings and Graphics 500 Liverpool : Walker Art Gallery : Italian Painting 279 London : Camden Festival Action Structures 500 National Book League : Word and Image 450 National Puppet Theatre Centre : Puppet Theatre'72 300 Royal Academy of Arts : Contemporary Sculptors 2,500 Royal Borough of Kensington and Chelsea Central Library : Arthur Hughes 500 Royal Opera House : Theatre Designs since 194 5 2,000 Slade School of Art : Centenary Exhibition 1,000 South London Art Gallery : John Dodgson (1890-1969 ) 200 The Victorian Society : Future of the Pas t 200 Manchester : Whitworth Art Gallery : Big Paintings for Public Place s 750 Drawings and Prints by Richard Hamilton 300 Northern Young Contemporaries 197 1 400 Norwich : Castle Museum : 20th Century Hungarian Drawings 65

Carried forward £12,209 £73,27 7

84

£ £ Brought forward 12,209 73,277 Nottingham : University of Nottingham : Portraits by Francis Cotes 250 Plymouth: City Art Gallery : Paintings by Karl Weschke 225 Reading: Museum and Art Gallery : Paintings and Drawings of Thomas and Paul Sandby 250 Sunderland : Bookshop Gallery : John Furnival Retrospective 200 13,134 Works of art for public buildings : Leicestershire Education Committee 1,250 University of Exeter 250 County Borough Council of Wolverhampton 300 1,800 Provision of studios : London : Space Provision (Artistic, Cultural and Educational) Limited 6,943

Awards to artists : Commissions 850 Discretionary Awards 16,202 17,05 2

Total as per Schedule 1 £112,206

Literature Apollo Society Limited 1,200 Brighton Poetry Society 60 British Institute of Recorded Sound 500 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 19 Cheltenham Arts Festivals Limited 1,000 International PEN 1,250 London : Institute of Contemporary Arts Limited 600 The London Library 3,000 Mermaid Theatre Trust Limited 500 Thomas Harrison Memorial Fund 50 Tribune Poetry Readings - 160 National Book League 2,800 National Manuscript Collection of Contemporary Writers Fund 243 Norfolk Education Committee 50 Poetry Book Society Limited 3,500 Poetry Society 11,500 Shakespeare Birthplace Trust 850 Society of Barrow Poets 605 University of Essex 50 University of Reading 100 Wooburn Festival Society 30

Literary magazines : `Agenda' 1,200 `Critical Quarterly' 1,200 `London Magazine' 2,040 `Modern Poetry in Translation' 1,500

Carried forward £5,940 £28,067

85

Schedule 3 (continued)

£ £ Brought forward _ 5,940 28,067 Literature (continued ) Literary- - magazines : -- Ccontinued) `New 350 Writers' -- -- 20 `Outposts ' 0 - `The Review'_ 1,200 `Stereo Headphones ' 75

Little presses: - - Anvil Press - 750 - - - Association of Little Presses - -- 200 - Carcanet Press - - 250 - Fulcrum Press 280 Latimer New Dimensions Limite 600 d ------Sonus Press _ 300 Writers Forum -- - 120--- - - 2,500 Help for writers and publishers: - Grants to writers 21,710 -- Grants to translators 2,750 Grants to publishers 500 Grants to poets (Publication Awards) 500 - - - - 25,460

Total as per Schedule 1 £63,792

Festivals Bath Festival Society 6,000 Battle Festival Society 359 Brighton Festival Society Limited 6,000 Dorchester Abbey Festival Committee 500 Harrogate Festival ofArts and Sciences_ Limited_ 5,000 King's Lynn : St George's Guildhall Limited _ 5,000 Little Missenden Festival Committe e - 456 London : Festivals ofLondon 1972 - - 6,006 Ludlow Festival Society Limited ------___3,37-- 6 Newcastle-upon-Tyne FestivalJo_int Committee 3,000 Nottingham Festival Association Limite d 3,000 Saddleworth Festival ofthe Art s -- - - -1,000 Sevenoaks : Paean Festival Society 750 Stroud Festival Limited ------2,500 Windsor Festival Society Limited 5,000 York Festival Committee 5,000

Total as per Schedule 1 - - £52,841

Arts associations Eastern Arts Association 13,330 East Midlands Arts Association 16,750 Greater London Arts Association_ _ ------38,830 Lincolnshire Association 23,250

Carried forward £92,160

86

Brought forward 92,160 Merseyside Arts Association 22,110 Mid Pennine Association for the Arts 300 Northern Arts 145,85 7 North West Arts Association 63,010 Southern Arts Association 35,250 South Western Arts Association 46,550 West Midlands Arts Association 29,450 Yorkshire Arts Association 37,427

Total as per Schedule 1 £472,11 4

Projects, arts Institute of Contemporary Arts Limited 25,000 centres and clubs Round House Trust Limited 7,500 Harlow Theatre Arts Trust 4,000 Swindon : Wyvern Arts Trust Limited 4,000 Sussex University : Gardner Centre for the Arts 3,450 Birmingham : Cannon Hill Trust Limited 3,000 Liverpool : Great Georges Project 2,500 Birmingham Arts Laboratory 2,000 Hertfordshire and Essex Malthouse Trust Limited 1,700 King's Lynn : St George's Guildhall Limited 1,500 Electric Theatre Company 000 Folkestone Adult Education Centre 750 Centerprise 500 The Combination Limited 500 Hastings : Stables Trust Limited 500 Oxford Community Workshop 500 Space Structure Workshop 500 Arts Council for North Hertfordshire 400 Gravesend Arts Council 400 Principal Edwards Magic Theatre 300 300 Victor Corti Basildon District Arts Association 250 200 Anglian Arts 200 Transmedia Exploration 196 Pages Hemel Hempstead Arts Trus t 150 St Albans and District Arts Council 100 100 Waltham Holy Cross Arts Council 50 Beccles and District Arts Society 50 Tring Arts Society £61,796 Total as per Schedule 1

Trans ort subsidy Canterbury Theatre Trust Limited 811' East Grinstead : Myles Byrne Projects Limited (Adeline Genee Theatre) 25 Farnham Repertory Company Limited 150 Guildford : Yvonne Arnaud Theatre Management Limited 300

Carried forward £1,275

87

Schedule 3 (continued)

Brought forward 1,275 Transport subsidy Leatherhead : Thorndike Theatre (Leatherhead) Limited 300 (continued) Oxford : Meadow Players Limited 650 Oxford University Theatre 450

Total as per Schedule 1 £2,675

Education in the Music arts London Opera Centre for Advanced Training and Development Limited 64,240 National Youth Orchestra of Great Britain 20,000 Royal Ballet School 15,000 Institute of Choreology 15,000 Yehudi Menuhin School Limited 5,000 Central Tutorial School for Young Musicians 3,500 The Rehearsal Orchestra 1,250 123,990 Drama London Academy of Music and Dramatic Art 5,000 National Youth Theatre 5,000 Bristol Old Vic Trust Limited 3,500 East 15 Acting School Limited 2,000 15,500 Polytechnic School of Management Studies : Training Course in Arts Administration (Bursaries) 6,672

Total as per Schedule 1 £146,162

Housing the arts Drama Birmingham : Cannon Hill Trust Limited 4,000 Sir Barry Jackson Trust 29,000 Bristol Old Vic Trust Limited 75,000 Bromley Theatre Trust Limited 75,000 Colchester New Theatre Trust 60,000 Farnham Repertory Theatre Trust 7,500 Lancaster City Council 25,000 Leatherhead : Thorndike Theatre (Leatherhead) Limited 10,500 Leicester City Council 30,000 Norwich City Council 68,000 Sheffield : Crucible Theatre Trust Limited 161,000 Stratford-upon-Avon : Royal Shakespeare Theatre 15,000 560,00 0 Art Leeds : Park Square Gallery Limited 500

Arts centres Bishop's Stortford : Hertfordshire and Essex Malthouse Trust Limited 12,000 Darwen Borough Council 500 Harlow Urban District Council 5,500 Penzance : West Cornwall Arts Club 2,000

Carried forward £20,000 £560,500

88

Brought forward 20,000 560,500 Peterborough Arts Theatre Limited 10,000 Skegness : East Lincolnshire Arts Centre Limited 2,500 Slough Borough Counci l 20,000 Workington Borough Counci l 5,000 57,500

Total as per Schedule 1 £618,000

89

The Arts Council of Great Britain

Schedule 4 Net cost of exhibitions for the year ended 31 March 1972

£ £ Gross expenditure - - -

Transport 66,924

Organising 151,77 7

Insurance 19,61 8

- catalogues 52,414

Publicity 38,11 0

Materials 5,865

Hiring fees -- - - 197 334,905

Less : Revenue

Admissions 39,748

Catalogue sales 38,209

Exhibition fees 20,292 98,249

Net expenditure as per Schedule 1 £236,656

90

The Arts Council of Great Britai n

Schedule 5 Touring Grants and guarantees for the year ended 31 March 1972

£ £ Music Welsh National Opera Company Limited 60,000 Glyndebourne Productions Limited 43,892 ScottishOpera Limited 17,202 Phoenix Opera Limited 16,000 Basilica Productions Limited 9,500 Royal Opera House Covent Garden Limited (Royal Ballet) 674 Moving Being Enterprises 230 147,498

Drama , Prospect Productions Limited 65,000 Candida Plavs Limited 21,000

National Theatre Board 1 I,L"U Belgrade Theatre Trust (Coventry) Limited 8,300 Meadow Players Limited 7,600 Triumph Theatre Productions Limited 1,500 Nottingham Theatre Trust Limited 1,200 7 :84 Theatre Company 930 Romilly Productions Limited 200 English Stage Company Limited 190 Quipu Productions Limited 189 London Theatre Group 100

143,209 Theatres Alexandra Theatre (Birmingham) Limited 10,000 Grand Theatre Wolverhampton Limited 5,000 Newcastle-upon-Tyne County Borough Council (Theatre Royal) 5,000 Oxford Theatre Productions Limited (New Theatre) 5,000 Kingston-upon-Hull New Theatre Company Limited 3,700 Arts Theatre of Cambridge Limited 3,000 Bury St Edmunds Theatre Management Limited 2,300 Malvern Festival Theatre Trust Limited 2,000 Myles Byrne Projects Limited (Adeline Genee Theatre) 2,000 County Borough Council of Rotherham (Civic Theatre) 2,000 Scunthorpe Borough Council (Civic Theatre) 2,000 Southampton University (Nuffield Theatre) 1,500 43,500

Carried forward £334,207

91

Schedule 5 (continued)

Brought forward 334,20 7

Add: Cost of administration Fees, salaries and wages 11,31 0 Travelling and subsistence 2,18 1 Publicity 17,81 4 Postage and telephone 1,275 Stationery and printing 234 Office and sundry expenses 144 Theatre surveys 884 33,842 368,04 9

Less : Revenue Northern Arts 10,000 City of Manchester 5,000 Merseyside Arts Association 3,608 City of Leeds 2,000 Sunderland Corporation 2,000 City of Bradford 1,650 Southern Arts Association 1,500 Yorkshire Arts Association 1,500 City of Newcastle 750 28,008

Net expenditure as per Schedule 1 £340,041

92

The Arts Council of Great Britain

Schedule 6 Special funds as at 31 March 1972

£ £ £ H. A . Thew Fund Capital account 7,773 Income account : Balance as at 31 March 1971 101 Add: Income during year 701 802 Less : Expenditure during year 275 527 Creditors 170 8,470

Mrs Thornton Fund Capital account 5,124 Income account : Balance as at 31 March 1971 704 Add: Income during year 420 1,124 Less : Expenditure during year 950 174 Creditors 203 5,50 1

National Manuscript Collection of Contemporary Writers Fund Capital account 10,000 Income account : Balance as at 31 March 1971 71 4 Add: Income during year 443 1,157 Less: Expenditure during year 268 889 10,88 9

Compton Poetry Fund Capital account 21,205 Income account : Balance as at 31 March 1971 4,730 Add: Income during year 1,799 6,529 Less: Expenditure during year 1,500 5,029 26,234 Carried forward £51,094

93

Schedule 6 (continued)

Broughtforward 51,094

Henry and Lily Davis Fund - - - Capital account _ 60,000 Income account : Balance as at 31 March 1971 7,726 Add: Income during year 7,618 - - - - - 15,344 Less: Expenditure during year 2,591 12,753 Creditor 21 0 - - - 72,963-

The Guilhermina Suggia Gift Capital account - 8,759 Income account : Balance as at 31 March 1971 1,065 Add: Income during year 452 1,517 Less: Expenditure during year 921 596 .-- Creditors 275 ------9,630

The Miriam Licette Scholarship__ Capital account :___ Balance as at 31 March 1971 - - - - 13,397 Add: SuMllus on sale of investments _ 5,250 - ~ 18,647 Income account : Balance as at 31 March 1971 729 Add: Income during year 906 ------1,635 Less: Expenditure during year '107 1,528 20,175

_ Dio Fund Capital account 2,_0. 00 Income account 9 2,009

Miss O . E. Saunders Fund - - - - - Capital account 7,100 Income account : Balance as at 31 March 1971 426 Add: Income during year 210 636 - 7,736 Total as per Balance Sheet £163,607

94

The Arts Council of Great Britai n

Schedule 7 Special funds : Assets as at 31 March 1972

Nominal Market Book value value value

H_ A_ Thew Fund 3 percent British Transport stock 1978/88 2,105 1,305 1,937 3j per cent conversion stock 2,810 1,124 2,768 Equities investment fund for charities 2,922 8,372 3,068 7,773 Debtors 123 Cash at bank 574 8,470 Mrs Thornton Fund 2j per cent consolidated stock 665 190 489 51 per cent conversion stock 1974 (PO issue) 200 203 203 3 per cent British Transport stock 1978/88 355 220 337 51 per cent funding stock 1982/84 110 99 100 5 per cent Treasury bonds 1986/89 1,825 1,359 1,588 Equities investment fund for charities 2,217 6,352 2,328

143 Cash at

National Manuscript Collection ofContemporary Writers Fund Manuscripts at cost 1,400 Debtors 75 1 Cash at bank 8,738

Compton Poetry Fund Albright and Wilson Limited 234 281 872 British American Tobacco Company Limited 200 2,400 1,010 Cadbury Schweppes Limited 300 1,260 722 Commercial Union Assurance Company Limited 80 1,616 650 County Council of Essex 51 per cent redeemable stock 1975/77 1,000 940 966 Distillers Company Limited 345 1,242 719 Dowty Group Limited ordinary shares 525 1,470 1,004 7 per cent convertible unsecured loan stock 1986/91 150 171 150 English and Scottish Investors Limited 800 5,760 1,590 Equities investment fund for charities 2,141 6,134 2,561 General Electric Company Limited : `B' shares 125 915 136 71 per cent convertible unsecured loan stock 1987/92 225 383 245 George G . Sandeman Sons and Company Limited 500 2,700 1,275 Group Investors Limited ordinary shares 1,120 3,584 1,280

Liverpool Corporation 5} per cent redeemable stock 1976/78 1,500 1,395 1,4i u London Scottish American Trust Limited 600 3,540 1,680 Lyon and Lyon Limited 375 690 1,067 Royal Insurance Company Limited 105 1,890 727 Shell Transport and Trading Company Limited 250 3,050 29079

Debtors 1,424 Cash at bank 4,115

Carried forward E23,970 £59,152 £51,09 4

95

Schedule 7 (continued)

Nominal Market Book value value value £ £ £ £ Brought forwar d 23,970 59,152 51,094

Henry and Lily Davis Fund London County 51 per cent stock 1985/8 7 50,000 42,000 33,500 Equities investment fund for charities 17,464 50,034 34,192 67,692 Debtors 2,924 Cash at bank 2,347 72,963

The Guilhermina Suggia Gift 3j per cent war stoc k 6,746 2,766 4,896 3j per cent funding stock 1999/2004 4,682 2,341 3,863 8,759 Debtors 171 Cash at bank 700 9,630 (Note: Messrs Coutts and Company act as Special Trustee to this fund .)

The Miriam Licette Scholarship Equities investment fund for charities 9,019 25,839 18,147 Debtors 627 Cash at bank 1,401 20,175

Dio Fund Equities investment fund for charities 674 1,931 1,797 Debtor 8 Cash at bank 204 2,009

Miss O. E. Saunders Fund Freehold property 7,100 Debtor 636 7,736

£112,555 £184,063

Total as per Balance Sheet £163,607

96

The Scottish Arts Council

Revenue and expenditure account for the year ended 31 March 197 2

1970/71 £ £ 1,013,337 General expenditure on the arts (see Schedule 1) 1,197,067

83,188 General operating costs (see Schedule 2) 92,832

12,280 Capital expenditure transferred to capital account 91,468

1,235 Reserve for capital purchases -

£1~t~40 L1,381,367

30,390 Balance brought down 2,827

55,503 Balance carried forward to Balance Sheet 52,676

£$ £55,503

98

1970/7 1

1,066,500 Grant from the Arts Council of Great Britain 1,334,862

6,908 Provision for grants and guarantees in previous year not required 7,557

4,637 Transfer from reserve for capital purchases 1,235

Sundry receipt s Sale of 11 Rothesay Terrace, Edinburgh __3__2,42 1 _ Donations _ 1,177 Interest on deposit account _ 997 Miscellaneous 291 1,605 34,886

30,390 Balance carried down 2,827

£1,110,040 £ , 1,3

85,893 Balance brought forward at 1 April 1971 55,503

X5,893 5, 03

99

The Scottish Arts Counci l

Balance sheet as at 31 March 197 2

Liabilities 1971

Capital account Balance as at 31 March 1971 134,407 Add: Capital expenditure during year transferred from Revenue and expenditure account 91,468 225,875 Less : Book value of assets sold or written off during year 9,880 134,40 7 215,99 5

-71-3-4-,,W7 Carried forward £215,995

100

Assets ------1971 --

_ Freehold property 11 Rothesay Terrace, Edinburgh _ At cost as at 31 March 1971 9,880 Less : Sale during year 9,880

5 Blythswood Square, Glasgow _ Improvements at cost as at 31 March 1971 8,326 Purchase of freehold 35,661 - - - - - 43,987 - - - - - 9,880 43,987 Leasehold property - - 19/20 Charlotte Square, Edinburgh _ Improvements at cost as at 31 March 1971 57,048 Additions at cost 48,954 ------65,374 106,00 2 --- - _ Office equipment - - At valuation as at 31 March 1955 and additions _ at cost less items sold or written off to 31 March 1971 12,023 - Additions at cost 2,325 12,023 14,348

_Motor vans and cars 3,433 At cost as at 31 March 1971 3,433

Piano accoun t 200 At valuation as at 31 March 1955 200

_ Art exhibition equipmen t At cost as at 31 March 1971 - - 6,358 Additions at cost 760 6,358 7,118

Works of ar t _ At cost as at 31 March 1971 36,467 Additions at cost 3,768 36,467-- 40,235 ------Reproductions 672 At cost as at 31 March 1971 672

Carried forward - - -_ £134,407 _ - _

101

Balance sheet (continued)

Liabilities (continued) 1971

134,407 Brought forward 215,995

55,503 Revenue and expenditure account 52,676

68,751 Grants and guarantees outstanding 41,504

1,235 Reserve for capital purchase s

Credit balances Sundry creditors and accrued liabilities 16,484 Due to Arts Council of Great Britain 95 12,149 16,579

Note: No provision has been made for depreciation of assets : renewals are charged to Revenue .

Chairman of the Scottish Arts Council : Balfour of Burleig h Secretary-General: Hugh Willat t

£272,045 £326,754

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation s that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet ar e properly drawn up so as to exhibit a true and fair view of the transactions,of the Scottish Arts Council and of th e state of their affairs . Signed : D. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 12 July 1972

102

Assets (continued) 1971 --

134,407 Brought forward 215,99 5

82,663 Grants and guarantees paid in advance _ 77,363

70 Coffee houses stock 97

Debit balances _ Sundry debtors and prepayments 31,048 Due from Arts Council of Great Britain Expenditure on future exhibitions in preparation 1,661 -- 50,376 32,709

_ Cash _ On bank deposi t On current account 388 - Imprests 52 - 150 In hand - - -- 590 4,529 -

£326,754

103

The Scottish Arts Counci l

Schedule 1 General expenditure on the arts for the year ended 31 March 1972

Music -- Grants and guarantees (see Schedule 3) 586,62 1 Opera fo-r- all _Gross expenditure 11,920 Less : Revenue - - 8,980 - 2,940 Ballet tour: Gross expenditure 7,808 Less : Revenue 5,700 2,108 - Concerts : Gross expenditure 15,374 Less : Revenue _ 10,077 -- - - - 5,297 - 596,96 6

Drama-- Grants and guarantees (see Schedule 3) 282,60 0

Tours : Gross expenditure 11,191 Less: Revenue 8,221 ---- - 2,970 285,570

Touring (see Schedule 4) 20,656

Art Grants and guarantees (see Schedule 3) - 37,204

Exhibitions : Gross expenditure 55,040 Less : Revenue_ 7,136 47,904 Blythswood Square Gallery, Glasgow 3,101 51,005

Art film tours : Gross expenditure 398 Less : Revenue 189 _ 209 Lecturers' fees and expenses 2,258 Less : Fees received 693 1,565 89,983 Carried forward £993,175

104

Brought forward 993,17 5

Literature Grants and guarantees (see Schedule 3) 23,220 _ Poetry readings 1,778 Writers in schools _ _ 122 Miscellaneous expenses 1,838 26,958

Festivals Grants and guarantees (see Schedule 3) 85,734

Arts centres and clubs Grants and guarantees (see Schedule 3) 16,20 0

Housing the arts Grants (see Schedule 3) 75,000 ------Net expenditure as per Revenue and expenditure account £1,197,067

105

The Scottish Arts Counci l

Schedule 2 General operating costs for the year ended 31 March 1972

£ £ Salaries and wages 48,629

Superannuation 5,708 54,337

Travelling and subsistence 6,199

Rent and rates 8,259

Fuel, light and house expenses 7,368

Publicity and entertainment 5,654

Postage and telephone 4,323

Stationery and printing 3,158

Professional fees 406

Office and sundry expenses 3,128

Total as per Revenue and expenditure account £92,83 2

106

The Scottish Arts Council

Schedule 3 Grants and guarantees for the year ended 31 March 197 2 (including subsidies offered but not paid at that date)

Music Opera _ Aberdeen : Albion Opera (Philomusica Society) 130 Haddo House Choral Society 400 Dundee : Tayside Opera 200 _ Edinburgh Grand Opera Group 400 _ Glasgow: Citizens' Theatre_ Limited ---1,000 _ _ Glasgow Grand Opera Society 800 Scottish Opera Limited -271,689 274,61 9

Ballet Dundee Corporation _ 200 Glasgow : Citizens' Theatre Limited_ 1,100 Scottish Theatre Ballet Limited 123,000 _ 124,300

Concerts _ _ Aberdeen :AberdeenChamberMusicClub_ 220___ _ _ Aberdeen Organ Recitals Committee 100 _ Haddo House Choral-Society 800 _ _ Alloa and District Arts Guil d 70 Alloa Music Club 468 _ Arbroath and District Arts_ Guil d 450 Arran Music Society - - 29 650 Ayr Music Club - - _ Badenoch_Arts Club 1-80 Blairlogie Reading and Recreation Room 48 _Bridge of Allan and District Music Club _220 - Cowal Music Club 20 Cumnock Music Club 250 Dingwall and District Arts Guild_ 740 Dollar Music Society 650 _ Dornoch Arts Committee 680 Dumbarton Society _380 -Dumfries Music Club 265 Dundee Chamber Music Club _ 380 _Dundee Organ Recitals Committee 70 Dundee University Musical Society______50 Dunfermline Arts Guild 300 Duns and District Arts Guild_ 861 _ East Kilbride Music Club 50 East Lothian Arts Association 100 _ Edinburgh : Connoisseur Concerts Society _ 720 Edinburgh Organ Recitals Committee _- 1.8_0 _ Colin Kingsley -- 50 Martin Chamber Concerts Society 5. 00 _ National Gallery Lunch Hour Concerts 27 New Town Concerts 500 _SaltireMusic Group 100 - _ Fortrose : Black Isle Arts Society 350 Gatehouse : Musical Society 160

Carried forward £101618 £398,919

107

Schedule 3 (continued)

£ £ Brought forward 10,618 398,91 9 Music (continued) Concerts (continued) Girvan and District Arts Guil d 60 Glasgow : John Currie Singers 1,500 Glasgow Chamber Music Societ y 400 Masterconcerts Limited 1,350 Scottish National Orchestra Clu b 220 Glenalmond Concert Society 205 Glenkens and District Music Clu b 150 Greenock Chamber Music Club 260 Hamilton Civic Society Arts Circle 320 Hawick Music Clu b 565 Invergordon Arts Societ y 843 Inverness Arts Guil d 40 Inverness Musical Society 250 Irvine: Harbour Arts Centre 1 6 Irvine Music Club 275 Kelso and District Music Societ y 350 Kilmardinny Music Circl e 80 Kilmarnock and District Arts Guil d 500 Kintyre Music Club (Campbeltown ) 50 Lanark Music Club 450 Linlithgow Arts Guild 600 Melrose Music Society 588 Moffat and District Musical Society 40 Moray Arts Club 450 Musselburgh Arts Guil d 789 Nairn Music Clu b 342 North Ayrshire Arts Centr e 600 Oban Arts Guild 420 Orkney County Music Committee 900 Perth Chamber Music Society 70 Pitlochry Festival Society Limited 400 St Andrews : St Andrews Music Club 350 Students Representative Council of the University of St Andrews 95 Shetland Arts Society 882 Skelmorlie and Wemyss Bay Community Centre 50 Skye Arts Guil d 250 South West Ross Arts Society 65 Stonehaven Music Clu b 200 Stranraer(Branch Wigtownshire) Music Associatio n 712 Strathaven Arts Guild 100 Strathearn Arts Guild 370 Strathspey Arts Club 250 Tain and District Arts Guil d 61 2 Tayvallich Village Hall Committee 60 Thurso Live Music Associatio n 1,000 Central Scotland Organ Recitals Committee 60 National Federation of Music Societies 5,000 Rehearsal Orchestra 100 Scottish Baroque Ensemble Trust Limited 2,556

Carried forward £36,413 £398,91 9

108

Brought forward 36,413 398,91 9 Scottish National Orchestra Society Limited - -_145,000 181,41 3

Other activities John Currie Singers Limited 130 Saltire Society _ 1,372 Scottish M_ usic Archiv e _ Shetland Arts Society _ 500 _ Special Grants --- - 178787 - -- - - Bursaries 6,289

Total as per Schedule 1 ------£586,621

Drama Aberdeen : University of Aberdeen___ 50 _ Cumberna_uld Theatre Group 747 _ Dervaig Arts Theatre Limited 1,930 Dundee Repertory Theatre Limited _ 35,304 Edinburgh_Childrens Theatre_ Workshop 150 _ Edinburgh_ Civic Theatre Trust Limited 6.0_,345 The Pool Lunch Hour Theatre Club_ 250 Traverse Theatre Club 21,564 _ Traverse Theatre Workshop 2,450 Glasgow : Citizens' Theatre Limite (including Close Theatre Club) _ 7.8,945 University of Glasgow_- 1,000 Perth Repertory Theatre Limited 34,2_6_8 - Pitlochry Festival Society Limited_---- _ - _28,650 St Andrews : Byre Theatre of St Andrews 6,850 _ _University Mermaid Drama Society - 50 University of Strathclyde _ _ _ _ 100 _ British Centre of the International Theatre Institute 100 _ Council of Repertory Theatres _7_5 Prospect Productions Limited _ _900 Scottish Theatre Guild _ 500 Shanter Productions _ 500 Stage Company (Scotland) 700 7 :84 Theatre Company 125 Training Scheme Bursaries 947 Bursaries 6,100

Total as per Schedule 1 £282,600

Art Aberdeen Art Gallery 50 Aberdeen Arts Centre Association 1 6 Arbroath Art Society - 44 Arbroath Town Council 250

Carried forward

109

Schedule 3 (continued)

Brought forward 360 Art (continued) Edinburgh : Ceramic Workshop 3,555 Richard Demarco Gallery Limited 12,841 Edinburgh College of Art 500 57 Gallery 780 Printmakers Workshop Limited 1,515 Saltire Society 300 Weavers Workshop 500 Glasgow : Compass Gallery Limited 3,000 Glasgow Group 175 Glasgow Museums and Art Galleries 100 Glasgow School of Art 112 St Andrews : Arts Committee of St Andrews 126 Buildings of Scotland 500 Films of Scotland 3,000 Prospect Productions Limited 50 Scottish Young Contemporaries 500 Sussex University : Gardner Centre for the Arts 520 Commissions 5,200 Bursaries 3,570

Total as per Schedule l

Literature Claddagh Records Limited 500 Edinburgh : University of Edinburgh 500 Gaelic Books Council 600 Glasgow : University of Glasgow 1,200 Scottish Film Council 1,000 Strathclyde : University of Strathclyde 750 4,550

Publication s `Akros' 1,250 `Gairm' 600 `Lines Review' 1,000 `Pointe' 200 `Scottish International Review' 4,000 7,050 Publication Awards 3,600 Bursaries 4,250 Travel Grant 100 Grants to Publishers 3,670 11,620

Total as per Schedule 1 £ ,220

110

Festivals Edinburgh : Craigmillar Festival Society 400 _ Leith Festival Committee _ 300 Edinburgh Festival Society Limited 80100_0 Milnathort : Association of the Friends of Le_dlanet Nights Limited 5,000 St Andrews Festival 1971 34

Total as per Schedule 1 £85,734

Arts centres and __Aberdeen Arts Centre Associatio n 1,800 clubs Callan-der & District Arts Guild 750 _ Greenock Arts Guild 50_ _ Prestwick_ Arts_ Guild 400 _ _Stirling : MacRobert Centre 10,000 _ Troon Arts Guild 750 Association of Arts Centres in Scotland 1,000 Scottish Civic Entertainment Association 1,000

Total as per Schedule 1 ~~

Housing thearts University of Stirling - 75,000

Total as per Schedule 1 £75,000

111

The Scottish Arts Counci l

Schedule 4 Stage I Touring for the year ended 31 March 1972

£ £ Music Scottish Opera Limited 9,750 Glyndebourne Productions Limited 4,000 Scottish Theatre Ballet Limited 3,000 16,75 0

Drama Meadow Players Limited 1,875 National Theatre Board 4,000 Pitlochry Festival Society Limited 3,17 1 Prospect Productions Limited 6,820 Henry Sherwood Productions 2,096 17,962

Publicity 9,694 44,406

Less: Revenue Aberdeen Corporation 8,500 Edinburgh Corporation 12,000 Glasgow Corporation 3,250 23,750

Net expenditure as per Schedule 1 £20,65 6

112

The Welsh Arts Counci l

Revenue and expenditure account for the year ended 31 March 197 2

1970/71 £ £ 535,985 General expenditure on the arts (see Schedule 1) 863,08 2

66,110 General operating costs (see Schedule 2) 78,623

4,852 Capital expenditure transferred to capital account 10,870

(16,789) Balance carried down 14,81 1

£590,158 £967,386

96 Balance carried forward to Balance Sheet 14,907

£96 £14,907

114

£ £ £ 585,000 Grant from the Arts Council of Great Britain 963,23 5

1,701 Provision for grants and guarantees in previous year not required 1,086

Sundry receipts Interest on deposit account 2,351 Proceeds ofsale ofassets 475 Miscellaneous 239

£590,158 £967,386

16,885 Balance brought forward at 1 April 1971 96

(16,789) Balance brought down 14,81 1

£96 £14,907

115

The Welsh Arts Council

Balance sheet as at 31 March 1972

Liabilities _ 1971 £ £ Capital account Balance as at 31 March 197 1 45,824 Add: Capital expenditure during year transferred from Revenue and expenditure accoun t 10,87 0 Gifts 620 57,31 4 Less: Book value of assets sold or written off during yea r 2,101 45,824 55,213

£45,824 Carried forward £55,21 3

116

£ t z Leasehold property Museum Place Cardiff 4,836 Improvements at cost as at 31 March 1971 4,836

Office equipment At cost as at 31 March 1971 6,785 Additions at cost 101

Less : items sold or written off 9 6,785 6,877

Motor vans and cars At cost as at 31 March 1971 7,126 Additions at cost 3,739 10,865 Less: items sold or written off 1,672 7,126 9,193

Art exhibition equipment At cost as at 31 March 1971 2,594 Additions at cost 746 3,340 _ Less: items sold or written off 420 2,594 2,920

Works of art At cost as at 31 March 1971 22,424 Additions at cost _ 6,284 Gifts at cost value 620 22,424 29,328

Reproductions 161 At cost as at 31 March 1971 161

Manuscript collection 1,898 At cost as at 31 March 1971 1,898

£45,824 Carried forward £55,21 3

117

Balance shee t (continued)

Liabilities (continued ) 1971

45,824 Brought forward 55,21 3

96 Revenue and expenditure account 14,907

27,345 Grants and guarantees outstanding 68,700

Credit balance s Sundry creditors and accrued liabilitie s 19,583 Due to Arts Council_ of Great Britain 25,000 52,402 - 44,583

Note : No provision has been made for depreciation of assets : renewals are charged to Revenue.

Chairman of the Welsh Arts Council : William Crawshay Secretary-General : Hugh Willatt

£125,667 £183,403

I have examined the foregoing Account and Balance Sheet . 1 have obtained all the information and explanation s that I have required and 1 certify, as the result of my audit, that in my opinion this Account and Balance Sheet ar e properly drawn up so as to exhibit a true and fair view of the transactions of the Welsh Arts Council and of the stat e of their affairs . Signed : D. B. Pitblado Comptroller and Auditor General, Exchequer and Audit Department, 12 July 197 2

118

Assets (continued) 1971

45,824 Brought forward 55,21 3

39,550 Grants and guarantees paid in advance 28,350

Debit balances Sundry debtors and prepayments 12,072 Due from Arts Council of Great Britain 20,330 _ Expenditure on future exhibitions in preparation 3,971 21,966 36,373

Cash On bank deposit 61,683 On current account 1,554 _ Imprests 30 in hnnd 200

£125,667 £183,403

119

The Welsh Arts Council

Schedule 1 General expenditure on the arts for the year ended 31 March 1972

Music Grants and guarantees (see Schedule 3) 413,768

Opera for all : - Gross expenditure 7,700 Less: Revenue 7,092 - - - 608 Concerts : Gross expenditure 72,562 Less: Revenue 39,234 -- 33,328 Recording of new music 11,000 -- - 458,704

Drama Grants and guarantees (see Schedule 3) 101,44 9 Miscellaneous expenses 30 101,449

Art Grants and guarantees (see Schedule 3) 13,650

Exhibitions : Gross expenditure 48,421 Less Revenue 8,695 39,726

Art film tours : Gross expenditure - 947 Less : Revenue 400 - - 547 Publications: Gross expenditur - e 833 Less: Revenue - 260 573 Poster prints 26 Filmmaking 958 - - - - 55,480

Literature Grants and guarantees (see Schedule 3) 47,229 Creative Prose competition - 1,199 Dial a poem 798

- - Poetry recitals : Gross expenditure 1,570 Less : Revenue - 148 1,422 Writers in school s - 91 5 Miscellaneous expenses 3,823 Less : Revenue 178 3,645 55,208

- Carried forward - £670,84 1

120

forward

Festivals Grants and guarantees (see Schedule 3) 22,31 3

Arts associations Grants and guarantees (see Schedule 3) 86,628

Arts centres and clubs Grants and guarantees (see Schedule 3) 6,300

Housing the arts Grants (see Schedule 3) 77,000

Net expenditure as per Revenue and expenditure account £863,082

121

The Welsh Arts Council

Schedule 2 General operating costs for the year ended 31 March 1972

£ £ Salaries and wages 41,177

Superannuation 4,393 45,570

Travelling and subsistence 7,364

Rent and rates 6,593

Fuel, light and house expenses 2,122

Publicity and entertainment 8,445

Postage and telephone 3,985

Stationery and printing 3,71 3

Office and sundry expenses 83 1

Total as per Revenue and expenditure account £78,623

122

The Welsh Arts Council

Schedule 3 Grants and guarantees for the year ended 31 March 197 2 (including subsidies offered but not paid at that date)

£ _£ Music -Opera Aberystwyth Opera Group 214 Cadoxton Amateur Operatic Society 366 _ Welsh National Opera Company Limited 372,695 373,27 5

Ballet - -- - 55 -- - Abertillery Urban District Council -

Concerts - - _Abertillery Urban District Council 65 -- Aberystwyth University. College Music Club 350 Barry : Barry and District Choral Society 75 Barry Summer School 120 Glamorgan College of Education 50 Brecon Cathedral Concerts Society 102 - Brecon Music Club 200 - - B_ridgend Concerts Society 350 - _ Bridgend Festival_ 2. 20 Burry Port Urban District Council - - - 63 Caerphilly Music Club 180 Caldicot Village College of Music Club 45 Cardiff : Cardiff Bach Choir 110 _ Cardiff Gramophone Society 61 Excelsior Brass Band Festival 150 National Museum of Wales 480 _ University College of South Wales ___ 802 University Hospital of Wales Music Society 750 Chepstow Arts Club 25 Chepstow Community College Music Society 67 Cross Hands Institute 125 _ Cwmbran Forum 180 Ebbw Vale Music Club 60 Knighton and District Concerts Society 245 Llandaff Festival 1,993 Llantwit Major : Atlantic College Music Society 175 United World College of the Atlantic 556 Merthyr Tydfil Arts Festival 250 Monmouth : Merlin Music Society 1,750 Newbridge Music Club 90 Newport : W. H. Davies Centenary Celebrations Committee 80 Environ 71 ------45 - - -- Newport College of Art Music Society 135 Newport Music Club 95 Royal College of Organists 60 Pembrokeshire Joint Concerts Committee 1,775 Penarth : Arts Arena 18 Glamorgan Education Committee Turner House Gallery Concerts 200___ _ Pontypridd : Cor Meibon 20 - Port Talbot Borough Council 55

Carried forward £12,172 £373,330

123

Schedule 3 (continued )

Brought-forward - 12,172 373,33 0 Music (continued) Concerts (continued ) Radnorshire County Council Music Committee 50 Radnorshire Rural Community Council Music Committee 110 Resolven Concert Society 50 Rhymney Valley Music Club 150 Risca Adult Education Centre 45 - Swansea Bach Society 100 Swansea Corporation 1,575 Welsh Amateur Music Federation 15,000 29,252 Other activities Publications : Guild for the Promotion of Welsh Music 750 Cardiff University College 100 1972 Gregynog Fellowship 750 Awards to Artists - 9,586 ------11,186 Total as per Schedule 1 £413,768

Drama Aberystwyth University College (College Theatre) 300 Caernarvon : Theatr Dieithr 550 Cardiff : Cambrian Theatre Company 1,500 Cardiff New Theatre Trust Limited 10,040 Caricature Theatre Trust Limited 12,100 Chapter Art Centre 150 Inter Action 10 1 New Fol de Rols 30 1 Open Air Theatre 1,100 Pip Simmons Theatre Group 68 Portable Theatre 125 Theatre Machine 71 125 Transitions 50 University College : Sherman Theatre 800 Carmarthen : Trinity College Students Arts Festival 34 Ebbw Vale : Guild of Welsh Playwrights 55 Newport : Environ 71 120 Swansea Corporation : Grand Theatre 5,100 Welsh Theatre Company 64,875 Drama Association of Wales 3,000 Dramatic and Lyric Theatres Association 250 Bursaries 525 Guaranteed Royalty Scheme 150

Total as per Schedule I £101,41 9

Art Cardiff : 56 Group Wales 130 Cardiff Film Society 20 Chapter Arts Centre (Peter Dockley) 235 _ Contemporary Art Society for Wales 400

Carried forward £785

124

Brought forward 785 Transitions (materials for children's play events) 120 Voluntary Community Service (Ken Murcott : Resident Artist for Summer Playschemes) 260 Cwmbran Film Society 25 Cwmbran Llantarnam Grange 350 Llwchwr Art Group 24 Newport : Dyffryn High School (Environ 71 : Bruce Lacey Lecture) 35 Newport and Monmouthshire Art and Craft Society 40 Radnor Film Society 25 South Wales Potters 100 Swansea: Pavilions in the Parks (Summer Scheme) 1,447 3.21 1

Grants and guarantees towards exhibition s Bangor : Royal National Eisteddfod : Art and Craft Pavilion 600 Cardiff : National Museum ofWales : Arthur Hughes 250 Society for Education through Art : Pictures for Welsh Schools 100 University College : Henryk Gotlib 400 South Wales Group : Now/Nawr 2,050 Swansea : Glynn Vivian Art Gallery : Treasures from the National Trust 136 3,536

Bursaries Commission Aid Commissio n Award s Desian Grants Grants for Film making 4,UZ) 4 Small Grants Scheme 500

Total as per Schedule 1 V3,650

Literature Welsh Books Council i I,000 Yr Academi Gymreig 500 11,560

`The Anglo Welsh Review' 2,620 `Barn' 1,850 `Llwyfan' 650 `Planet' 1,550 `Poetry Wales' 1,750 `Second Aeon' 200 `Taliesin' 1,125 `Y Cardi' 245 `Y Genhinen' 730 `Y Traethodydd' 677 11 .397

30

Carried forward £23,087

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Schedule 3 (continued)

Brought forward 23,087 Public Readings British Broadcasting Corporation 900 Cardiff Writers Circle 50 Cymdeithas Lenyddol Caerdydd 70 National Book League : Book Bang 75 Newport : W. H. Davies Centenary Celebrations Committee 39 Environ 71 30 Welsh Theatre Company 150 1,314 Recordings : Argo Record Company Limited (Poets of Wales) 1,000 Cambrian Recordings Limited (The Green Desert by Harri Webb) 200 Recordiau'r Dryw : (Ysgol a'r Aelwyd) 400 (Dial a Poem) 150 1,750

Grants to Publishers 8,590 Grants to Translators 288 Bursaries 9,350 Fees 150 Honours 1,500 Prizes 1,200 21,078

Total as per Schedule 1 £47,22 9

Festivals Caerphilly Festival 2,300 Cardiff Festival of 20th Century Music 1,950 Llandaff Festiva l 3,900 Llangollen International Music Eisteddfo d 7,500 Llantilio Crossenny Festival of Music and Dram a 400 Lower Machen Festiva l 864 North Monmouthshire Festival of the Art s 245 Swansea Festival 4,554 Vale of Glamorgan Festival 600

Total as per Schedule 1 £22,31 3

Arts Associations North Wales Association for the Arts 40,000 West Wales Association for the Art s 46,628

Total as per Schedule 1 £86,628

Arts Centres and Aberystwyth : College of Librarianship Conference on the Arts 300 Clubs Cardiff : Chapter Art Centre 6,000

Total as per Schedule 1 £6,300

126

Housing_the-Arts Barry Memorial Hall _ 1,500 Barmouth Community Centre : Dragon Theatre and Gallery 500 Coleg Harlech 45,000 ------University of Wales, Aberystwyth Theatre 20,000 University College, Bangor Theatre 10,000

Total as per Schedule 1 £77,000

127