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Black British Women's Theatre
This book marks a significant methodological shift in studies of black British women’s theatre: it looks beyond published plays to the wealth of material held in archives of various kinds, from national repositories and themed collections to individuals’ personal papers. It finds there a cache of unpublished manuscripts and production recordings distinctive for their non-naturalistic aesthetics. Close analysis of selected works identifies this as an intersectional feminist creative practice. Chapters focus on five theatre companies and artists, spanning several decades: Theatre of Black Women (1982-1988), co-founded by Booker Prize-winning writer Bernardine Evaristo; Munirah Theatre Comp...
The Censorship of British Drama, 1900-1968: The Sixties
Winner of the Society for Theatre Research Book Prize - 2016 This is the final volume in a new paperback edition of Steve Nicholson's definitive four-volume survey of British theatre censorship from 1900-1968, based on previously undocumented material, covering the period 1960-1968. This brings to its conclusion the first comprehensive research on the Lord Chamberlain's Correspondence Archives for the 20th century. The 1960s was a significant decade in social and political spheres in Britain, especially in the theatre. As certainties shifted and social divisions widened, a new generation of theatre makers arrived, ready to sweep away yesterday's conventions and challenge the establishment. Analysis exposes the political and cultural implications of a powerful elite exerting pressure in an attempt to preserve the veneer of a polite, unquestioning society. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/TGOJ9339
Tales of the Tricycle Theatre
"An inside look at London's Tricycle Theatre which with its series of verbatim plays has made a significant contribution to contemporary political theatre"--
Different Drummer
Kenneth MacMillan's ballets are in constant demand by world-famous companies, particularly Romeo and Juliet, Manon and Mayerling. However, MacMillan was tormented by an acute sense of being an outsider, and often at odds with the institutions in which he worked. A real-life Billy Elliot from a Scottish working class family, MacMillan demonstrated a prodigious talent for dancing from an early age. Following the premature death of his mother, the young MacMillan sought an escape, and despite his father's disapproval, secured a place at Sadler's Wells. Paradoxically he found himself crippled by stage-fright during the height of his professional career, leaving him with only one option - choreog...
The Theatric Tourist
In the early nineteenth-century, James Winston—actor, theater manager, author, obsessive collector of theater ephemera, and artist—traveled throughout Britain making sketches of nearly 300 theatres and recording their most intricate details. Published in a deluxe edition two centuries ago, The Theatric Tourist has before now never been reprinted—though most copies have either disappeared or have been broken for the remarkable hand-colored plates found within. This remarkable piece of social and theatrical history is presented by the British Library and the Society for Theatre Research in a superb facsimile edition, which includes both Winston’s original text and his 24 stunning illustrations—presenting many of the long-since vanished playhouses of late Georgian England. A collector’s item for any cultural historian or theater buff, The Theatric Tourist is an invaluable piece of social history and a unique record of the buildings, players, and atmosphere of a time gone by.
Women and Embodied Mythmaking in Irish Theatre
Provides an historical overview of women's mythmaking and thus their contributions to, and an alternative genealogy of, modern Irish theatre.
Research Methods in Theatre and Performance
How have theatre and performance research methods and methodologies engaged the expanding diversity of performing arts practices? How can students best combine performance/theatre research approaches in their projects? This book's 29 contributors provide
