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Little Malcolm and His Struggle Against the Eunuchs
"In a squalid attic flat in the freezing darkness of a Huddersfield winter, Malcolm Scrawdyke and his fellow Northern art students smoke Woodbines and rehearse their revolutionary assault upon authority. According to Malcolm, the choice is simple: 'Freedom or serfdom'. The manifesto established, the 'Party of Dynamic Erection' begins its surreal offensive upon the eunuchs who stand in the way of inevitable triumph." "David Halliwell's classic play is set in the Sixties, an age given over to youth and rebellion."--Book jacket.
Stages in the Revolution
This book, first published in 1980, is a comprehensive study of the radical theatre movement in Britain from 1968 to 1978. The essays are based on first-hand interviews, with each section being introduced with a summary of key events before detailing the artists under examination.
The Set-Up
Originally published in 1973, this book investigates the power and the pressures behind English theatre in the late 20th Century, analysing its structure and systems, and the way that money and motives flow through it. On the one hand there are the organisations: the big national companies, the West End managements, the regional repertory theatres, the ‘fringe’ groups, the trade unions, the Arts Council. On the other are the individuals: actors, directors, playwrights, agents, administrators. Ronald Hayman’s challenging book illuminates the conflicts and contradictions in the set-up. It is a mine of information about how theatres are run, how shows pay their way, and what happens when they don’t.
APMP Guidance Manual
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Speaking Volumes
How did a fishmonger’s son from Tyneside, growing up in the 1950s with a Geordie accent, become the person who recorded over 900 audiobooks and received an MBE from the Queen in the Birthday Honours of 2017? This ‘charming’, ‘entertaining’ and ‘heart-warming’ memoir answers that question. Reviews: AudioFile magazine “...not simply a reader but an artist of the spoken word...” “...Gordon Griffin, an entire acting company in one person...” “Witty and moving memoir of how a working-class boy becomes THE voice of the spoken word. Honest and vivid account plus excellent advice for those of us who work with words.” Miriam Margolyes
New Theatre Quarterly 60: Volume 15, Part 4
New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.
The Methuen Drama Dictionary of the Theatre
The Methuen Drama Dictionary of the Theatre is an essential reference tool and companion for anyone interested in the theatre and theatre-going. Containing over 2500 entries it covers the international spectrum of theatre with particular emphasis on the UK and USA. With biographical information on playwrights, actors and directors, entries on theatres and theatre companies, explanation of technical terms and theatrical genres, and synopses of major plays, this is an authoritative, trustworthy and comprehensive compendium. Included are: synopses of 500 major plays biographical entries on hundreds of playwrights, actors, directors and producers definitions of nearly 200 genres and movements en...
The Drama Is Coming Now
This engrossing book presents the first collection in more than three decades of one of America’s finest drama critics. Richard Gilman chronicles a major period in American theater history, one that witnessed the birth or spread of Off-Broadway, regional theater, nonprofit companies, and avant-garde performance, as well as growing interest in plays by women and minorities and in world drama. His writing, however, is more than a revealing look at an era. It is criticism for the ages. Insightful, provocative, and impassioned, the articles represent the full range of Gilman’s interests. There are essays, profiles, and book reviews dealing with such topics as the “new naturalism” in theater, Brecht’s collected plays, and the legacy of Stanislavski. There is also a generous sampling of Gilman’s comments on plays by O’Neill, Miller, Chekhov, Albee, Ibsen, Anouilh, Beckett, Ionesco, Pinter, Fugard, and many others.
