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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
"An inside look at London's Tricycle Theatre which with its series of verbatim plays has made a significant contribution to contemporary political theatre"--
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.
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
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Provides an historical overview of women's mythmaking and thus their contributions to, and an alternative genealogy of, modern Irish theatre.