DOCSLIB.ORG

Thesis Submitted for the Degree Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis Submitted for the Degree Of THE UNIVERSITY OF HULL THE PLAYWRIGHT AND HIS THEATRE: HOWARD BRENTON, DAVID HE AND SNO0 WILSON being a Thesis submitted for the Degree of DOCTOR OF PHILOSOPHY in the University of Hull by HANS CHRISTIAN IB ANDERSEN CAND.PHIL.(COPENHAGEN) January 1987 23 21A1 198V THE PLAYWRIGHT AND HIS THEATRE: HOWARD BRENTON, DAVID HARE AND SNO0 WILSON In the context of changes in British theatre theory and practice, in particular in the post-1968 Fringe, is it possible to consider playscripts as literary works, expressing the views of individual writers? The emphasis within the early Fringe was on collectively organized work- shops and group creativity, and on the exploration of non-verbal expression on stage, something which had been anticipated by the pre-1968 avant-garde and which amounted to a challenge to the playwright's traditionally dominant position in the theatre. However, the playscript, as an example of written fictional narrative, dependent on the theatre for its realization but not its creation, still commands an independent status as a work, and the fiction enables the playwright to explore and evaluate reality in his own terms. Snoo Wilson's works illustrate his clear awareness on the power of fiction to posit the equal reality of the rational and the irrational in dramatic terms, as a metaphor for our way of understanding reality outside the theatre, where reality and fiction seem difficult to distinguish. David Hare focusses on the discrepancy between fiction and reality in the way we experience our lives and interpret history, and he seeks, as a conscious story-teller, to reveal, in imaginative terms, how that discrepancy leads to actual suffering. Howard Brenton's declared preference for content and fact, rather than form and fiction, and for the theatre as a democratic medium, cannot conceal his consistent endeavour to use fictional narrative as fantastic as Wilson's to oppose bourgeois versions of reality. In spite of their having learned to work with theatre companies and, hence, come to see themselves as parts of a larger, complex art, these play- wrights, like their predecessors, continue to write fictions which express their personal vision in a form, print, that is accessible and analysable in isolation from actual performance. Hans Christian lb Andersen, Cand.Phil. (Copenhagen) DRAMA Al kunst er udtryk og tydning. Men al anden kunst er menneskets for4g paa at fastholde og bevare, at tyde og faestne det flygtende Sjeblik, et led i menneskets evighedsdr4. Skuespilkunsten derimod, som selv er saa flygtig, er potenseringen af Sjeblikket, det fuldkomme "Sjeblik, det fuldkomme nu, nuet med alt, ikke blot hvad det rummer, men hvad det kan rumme. Frederik Schyberg: Skuespilkunst, 1947. TABLE OF CONTENTS page no. Table of Contents. Acknowledgement and Declaration. Introduction. 1 Chapter One: Text and Context. 20 Chapter Two: Snoo Wilson - the Playwright as Creative Maker. 66 Chapter Three: David Hare - Finding Truths by Telling Lies. 117 Chapter Four: Howard Brenton - Moving the Audience Towards Enlightenment. 180 Conclusion. 236 Appendices. One: The Stage Plays of Brenton, Hare and Wilson. 249 Two: Visits by Foreign Avant-Garde Companies to Great Britain. 255 Three: Playwrights' Debates in Print. 257 Bibliography. 259 ACKNOWLEDGEMENT I should like to express my sincere gratitude to the University of Hull, whose generosity enabled me to carry out my post—graduate research there, and to my supervisor, Mr. Donald H. Roy, for his support and advice. I am also indebted to my wife and my parents for their moral and practical support, to the University of Newcastle for the use of resources and to Mrs. Annemarie Rule for her secretarial expertise. / DECLARATION I hereby declare that this thesis is my own work and that it was completed solely by myself. #-eaa. 1 INTRODUC TI ON 2 "You could certainly plan a fascinating symposium on the subject 'Death of the Contemporary Playwright: Who Cares?'". / So wrote the critic Michael Coveney in Plays and Players in 1985, in the context of the fashion, then, for adaptations of novels in the British theatre. Such adaptations had, he said, worked well on stage, but their relative dominance in the theatre could be seen as a sign that original dramatic work was becoming scarce, and he blamed this on the development of collaborative creation on the theatrical Fringe of the 1970s. Because of this, he concluded, the playwright "may not be all that crucial a presence or functionary" in the 2 theatre. Even though Coveney's remarks were written tongue-in-cheek, they were not entirely without foundation, and they point to two significant facts about recent British theatre, which form the background to this work: the British theatre relies on its playwrights, whose welfare is a source of regular concern among theatre critics; and the playwright's position in the theatre and that of his art, the written play, have changed over the last thirty years, from being central and, apparently, indispensable to theatrical performance, to being optional, at least in theory. As somebody used to approaching playscripts as examples of a major literary genre, I have wanted to investigate whether it remains possible to consider the playscript in those terms, not least in the light of develop- ments in literary, dramatic and theatrical criticism, but also, and crucially, in the context of changes in the British theatre itself, changes away from the traditional view of the playwright as a literary artist working outside the theatre itself. One might put it, as Arthur Symons did in 1924: The question is this: whether the theatre is the invention of the dramatist, and of use only in so far as it interprets his creative work; or whether 1 M. Coveney, "From Page to Stage", Plays and Players, (henceforth: PP), No.380, (May 1985), pp. 16-19. 2 Ibid., p. 18. 3 the dramatist is the invention of the theatre, which has made him for its own ends, and will be able, once it has wholly achieved its mechanism, to dispense with him altogether, except perhaps as a kind of prompter.3 The question might be expressed differently: does the playwright belong to the theatre or the theatre to him, is he in command of the complex medium of the theatre or simply one of its constituent parts; can you speak of 'the playwright's theatre' or even keep him distinct from the theatre in which he works? In a European context - and this also applies to the British theatre from the late nineteenth century - the playwright became increasingly iso- lated from the theatre. Joachim Fiebach, in his work on twentieth century theatre theory, Von Craig bis Brecht (1975), claims that this process of separation goes back to the seventeenth century and that it was started by the division of labour that resulted from the development of European capitalism. 4According to Fiebach, this separation was complete by the nineteenth century, when the playwright had acquired the status of the 'true initiator' of the theatrical event, which was essentially seen as a presenta- tion or embodiment of the playwright's script. The separation of playwright and theatre became evident when the theatre - the so-called artistic theatre - began to develop its own non-verbal language late in the last century. With this development, the playwright came to be seen as a verbal, literary artist, whose work might not forever dominate the theatre. The British theatre has not developed exactly along the lines suggested by Fiebach. The playwright did come to be considered as a litera- ry artist from the late nineteenth century, and several serious playwrights of our own century have been both novelists and playwrights, among them 3 A. Symons, "A New Art of the Stage" in Studies in Seven Arts (1924), quoted in G. Lloyd Evans, The Language of Modern Drama (1977), p. 7. 4 J. Fiebach, chapter entitled "Theater und Drama" in Von Craig bis Brecht (1975), p. 303ff. 4 J.B. Priestley, Somerset Maughamand John Galsworthy. 5 But the artistic theatre was slow in developing in Great Britain and could not be said to provide a viable alternative to the playscript-dominated theatre until after the Second World Wax. So strong was the position of the scripted play that when George Devine set out to create a modern native British theatre in the 6 1950s, he began by approaching the nation's novelists. In fact, only in the modern period in the British theatre, beginning with the presentation of John Osbornds Look Back in Anger at Devine's Royal Court Theatre in 1956, did modern European theatre theory begin to play a full part. The resulting conflict between the script-based theatre and the artistic theatre became particularly obvious in Britain after 1963, coming to a head in the formation of the so-called Fringe theatre from 1968. This is therefore an ideal period for an investigation of the relationship between playwright and company, playscript and performance. The period to be dealt with in this work can be said to encompass the period after 1956, when the British theatre became truly international and began not only to absorb foreign ideas but also itself to influence foreign theatre. In this period, the theatre began to be seen as a major contempo- rary art form, capable of providing a focus for the British post-war welfare state, at a time when Britain, like other European nations, was undergoing radical cultural change. At the same time, an expanding system of state sponsorship for the arts, administered by the Arts Council of Great Britain, was instrumental in giving the theatre the material support which it needed in order to be able to develop into the very varied and lively sector of British cultural life which it now is.7 5 According to K.J.
Load more

Recommended publications
  • E.M. Parry Designer
    E.M. Parry Designer E.M. Parry is a transgender, trans-disciplinary artist and theatre- maker, best known for theatre design, specialising in work which centres queer bodies and narratives. They are an Associate Artist at Shakespeare’s Globe, a Linbury Prize Finalist, winner of the Jocelyn Herbert Award, and shared an Olivier Award for Outstanding Achievement as part of the team behind Rotterdam, for which they designed set and costumes. Agents Dan Usztan Assistant [email protected] Charlotte Edwards 0203 214 0873 [email protected] 0203 214 0924 Credits In Development Production Company Notes DORIAN Reading Rep Dir. Owen Horsley 2021 Written by Phoebe Eclair-Powell and Owen Horsley Theatre Production Company Notes STAGING PLACES: UK Victoria and Albert Museum Designs included in exhibition DESIGN FOR PERFORMANCE 2019 AS YOU LIKE IT Shakespeare's Globe Revival of 2018 production 2019 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE STRANGE New Vic Theatre Dir. Anna Marsland UNDOING OF By David Grieg PRUDENCIA HART 2019 ROTTERDAM Hartshorn Hook UK tour of Olivier Award-winning production 2019 TRANSLYRIA Sogn og Fjordane Teater, Dir. Frode Gjerlow 2019 Norway By William Shakespeare & Frode Gjerlow GRIMM TALES Unicorn Theatre Dir. Kirsty Housley 2018 Adapted from Philip Pullman's Grimm Tales by Philip Wilson SKETCHING Wilton's Music Hall Dir. Thomas Hescott 2018 By James Graham AS YOU LIKE IT Shakespeare's Globe Dir. Federay Holmes and Elle While 2018 By William Shakespeare HAMLET Shakespeare's Globe Dir.
    [Show full text]
  • Pocket Edition!
    Matthew Brannon matthew brannon As the literary form of the new bourgeoisie, the biography is a sign of escape, or, to be more precise, of evasion. In order not to expose themselves through insights that question the very existence of the bourgeoisie, writers of biographies remain, as if up against a wall, at the threshold to which they have been pushed by world events. - SIGFRIED KRACAUER, The Biography as an Art Form of the New Bourgeoisie, 1930 in The Mass Ornament: Weimar Essays, Oxford University Press, 2002 Call yourself an actor? You’re not even a bad actor. You can’t act at all, you fucking stupid hopeless sniveling little cunt-faced cunty fucking shit-faced arse-hole… - LAURENCE OLIVIER to Laurence Havery from Robert Stephen’s Knight Errant: Memoirs of a Vagabond Actor, Hodder and Stoughton, 1995 In show business, it’s folly to talk about what the future holds. Things change so fast. Today’s project so easily becomes tomorrow’s disappointment… The world of the film star is an obstacle race against time. The pitfalls and wrong turnings you can make are devastating. Often I fear for the sanity of some of my friends… The dice are loaded against you. There’s so much bitchery around, you really have to fight hard to survive. Everybody is against you… you have to fight for… success, sell your soul for it even. And when one finally achieved success, it was resented. Not by the great stars like Frank Sinatra, but by the little, frustrated people. They’re the ones to look out for, because brother, they’re gunning for you.
    [Show full text]
  • Paterson Erika Phd 1997.Pdf
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road. Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr.
    [Show full text]
  • History As a Construct.Pdf
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature HISTORY AS A CONSTRUCT: CARYL CHURCHILL’S MAD FOREST, DAVID EDGAR’S PENTECOST, AND DAVID HARE’S STUFF HAPPENS Ömer Kemal GÜLTEKİN Ph.D. Dissertation Ankara, 2018 History as a Construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens Ömer Kemal GÜLTEKİN Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2018 BİLDİRİM Hazırladığım tezin/raporun tamamen kendi çalışmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt eder, tezimin/raporumun kağıt ve elektronik kopyalarının Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü arşivlerinde aşağıda belirttiğim koşullarda saklanmasına izin verdiğimi onaylarım: o Tezimin/Raporumun tamamı her yerden erişime açılabilir. o Tezim/Raporum sadece Hacettepe Üniversitesi yerleşkelerinden erişime açılabilir. o Tezimin/Raporumun …… yıl süreyle erişime açılmasını istemiyorum. Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir. [25.01.2018] [Ömer Kemal Gültekin] YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen
    [Show full text]
  • Célia Maria Silva Oliveira 995 – 20
    Universidade do Minho Instituto de Letras e Ciências Humanas 0) 1 Célia Maria Silva Oliveira 995 – 20 From the Margins into the Mainstream: y Williams and Black British Theatre (1 Roy Williams and Black British Theatre (1995 – 2010) tream: Ro he Mains he Margins into t rom t F Célia Maria Silva Oliveira 2 1 UMinho|20 outubro de 2012 Universidade do Minho Instituto de Letras e Ciências Humanas Célia Maria Silva Oliveira From the Margins into the Mainstream: Roy Williams and Black British Theatre (1995 – 2010) Dissertação de Mestrado Mestrado em Estudos Ingleses Trabalho realizado sob a orientação da Professora Doutora Francesca Clare Rayner outubro de 2012 Acknowledgments I would like to thank Professor Francesca Rayner for introducing me to the world of New Writing in Britain and leading me in a quest of discovery. Thank you for the support and for believing in me and in the work that I could do. Thank you for the always open office door and the kind words. Filipe Couto, thank you for seeing qualities in me that I was not aware they existed. Thank you for the image that I have in your eyes. Sérgio Oliveira, more than my brother, my best friend, thank you for the support and the technical help. Sometimes, writing a thesis might have moments of desperation and Daniela and Neuza were always at the distance of a phone call. Thank you for the readings and for listening to my monologues. I would also want to thank all the people that direct and indirectly helped me and were part of this journey.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
    Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in
    [Show full text]
  • Ugly Rumours: a Mockumentary Beyond the Simulated Reality
    International Journal of Research in Humanities and Social Studies Volume 4, Issue 11, 2017, PP 22-29 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) Ugly Rumours: A Mockumentary beyond the Simulated Reality Kağan Kaya Faculty of Letters English Language and Literature, Cumhuriyet University, Turkey *Corresponding Author: Kağan Kaya, Faculty of Letters English Language and Literature, Cumhuriyet University, Turkey ABSTRACT Ugly Rumours was the name of a rock band which was co-founded by Tony Blair when he was a student at St John's College, Oxford. In the hands of two British dramatists, Howard Brenton and Tariq Ali, it transformed into a name of the satirical play against New Labour at the end of the last century. The play encapsulates the popular political struggle of former British leaders, Tony Blair and Gordon Brown. However, this work aims at analysing some sociological messages of the play in which Brenton and Ali tell on media and reality in the frame of British politics and democracy. Through the analyses of this unfocussed local mock-epic, it precisely points out ideas reflecting the real which is manipulated for the sake of power in a democratic atmosphere. Thereof it takes some views on Simulation Theory of French philosopher, Jean Baudrillard as the basement of analyses. According to Baudrillard, our perception of things has become corrupted by a perception of reality that never existed. He believes that everything changes with the device of simulation. Hyper-reality puts an end to the real as referential by exalting it as model. (Baudrillard, 1983:21, 85) That is why, establishing a close relationship with the play, this work digs deeper into the play through the ‘Simulation Theory’ and analysing characters who are behind the unreal, tries to display the role of Brenton and Ali’s drama behind the fact.
    [Show full text]
  • Download Publication
    Arts Council OF GREAT BRITAI N Patronage and Responsibility Thirty=fourth annual report and accounts 1978/79 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications 34 Scotland 36 Wales 38 Membership of Council and Staff 39 Council, Committees and Panels 47 Annual Accounts , Awards, Funds and Exhibitions The objects for which the Arts Council of Great Britain is established by Royal Charter are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects .
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • Laughing out Young: Laughter in Evan Placey's Girls Like That And
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 19 | 2019 Rethinking Laughter in Contemporary Anglophone Theatre Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie Electronic version URL: http://journals.openedition.org/miranda/20064 DOI: 10.4000/miranda.20064 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Printed version Date of publication: 7 October 2019 Electronic reference Claire Hélie, “Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016)”, Miranda [Online], 19 | 2019, Online since 09 October 2019, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/20064 ; DOI: https://doi.org/10.4000/ miranda.20064 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays... 1 Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie 1 Evan Placey1 is a Canadian-British playwright who writes for young audiences; but unlike playwrights such as Edward Bond, Dennis Kelly or Tim Crouch, he writes for young audiences only. Some of his plays target young children, like WiLd! (2016), the monologue of an 8-year-old boy with ADHD (Attention Deficit Hyperactivity Disorder), other young adults, like Consensual (2015), which explores the grey area between rape and consent. His favourite audience remain teenagers and four of the plays he wrote for them were collected in Girls Like That and Other Plays for Teenagers in 2016.
    [Show full text]