Thematische Bibliographien / Littlewood, joan

Auswahl der wissenschaftlichen Literatur zum Thema „Littlewood, joan“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 28. Juli 2024

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Zeitschriftenartikel zum Thema "Littlewood, joan"

Taylor, Millie. „Miss Littlewood and me: Performing ethnography“. Studies in Musical Theatre 14, Nr. 1 (01.04.2020): 65–76. http://dx.doi.org/10.1386/smt_00019_1.

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Joan Littlewood (1914‐2002) was a pioneer of theatre directing in the United Kingdom, most famous for her production of Oh What a Lovely War!. This article performs an ethnographic study of Miss Littlewood, a 2018 musical by Sam Kenyon, which documents Littlewood’s life and work using the style of the earlier show. Miss Littlewood’s plot reveals details of Littlewood’s life and work, while its form mirrors the montage techniques that she pioneered in Britain. The article uses interviews and rehearsal observations to document aspects of the process by which Miss Littlewood was developed. It reflects on the tensions that are revealed between that relatively luxurious process and Littlewood’s political and financial realities. Ethnography was an ideal method for documenting this process because it facilitated observation of relationships between the various works and demonstrated the fluidity and creativity of academic writing.

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Paget, Derek. „Theatre Workshop, Moussinac, and the European Connection“. New Theatre Quarterly 11, Nr. 43 (August 1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.

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This article investigates the influence of a French communist writer on Joan Littlewood's Theatre Workshop. Joan Littlewood celebrated her eightieth birthday in 1994 – a year which also saw an ‘Arena’ programme about her life and the publication of her memoirJoan's Book. Critics and commentators are agreed that Littlewood was a charismatic director, her Theatre Workshop a ground-breaking company which in the late 1950s and early 1960s acquired an international reputation only matched later by the RSC. However, the company's distinctive style drew as much from a European as from a native English theatre tradition, and in this article Derek Paget examines the contribution to that style of a seminal work on design – Léon Moussinac'sThe New Movement in the Theatreof 1931. Although he was also important as a theorist of the emerging cinema, Moussinac's chief influence was as a transmitter of ideas in the theatre, and in the following article Derek Paget argues that his book offered the Manchester-based group insights into European radical left theatre unavailable to them in any other way. Moussinac thus helped Theatre Workshop to become a ‘Trojan horse’ for radical theatricality in the post-war years, while his design ideas were to sustain the Workshop throughout its period of major creativity and influence. Derek Paget worked in the early 1970s on Joan Littlewood's last productions at Stratford East, and he wrote onOh What a Lovely Warin NTQ 23 (1990). He is now Reader in Drama at Worcester College of Higher Education.

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Zarhy-Levo, Yael. „Joan Littlewood and Her Peculiar (Hi)story as Others Tell It“. Theatre Survey 42, Nr. 2 (November 2001): 165–76. http://dx.doi.org/10.1017/s0040557401000084.

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The theatrical map in London during the 1960s consisted of four notable theatrical companies: the English Stage Company, the Royal Shakespeare Company, the National Theatre Company, and the Theatre Workshop. The first three companies, although somewhat transformed, fill major roles in British theatre to the present day. What happened to the fourth company, the Theatre Workshop? This question is all the more intriguing in light of the tribute current historical and critical accounts pay to the founder-director of this company, Joan Littlewood. Theatre critics and historians today view Littlewood as a major representative of radical theatre in the 1960s. Littlewood's position during her era, however, was quite a different story, and the tale of then versus the tale of now is a primer in theatre historiography. I will trace that tale in this essay by juxtaposing the diverse receptions she and her works have received during the past forty years.

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MUREȘAN, Răzvan. „”Theatre should be free, like air or love”. Joan Littlewood and the imperative of collective creation“. Theatrical Colloquia 12, Nr. 2 (01.12.2022): 37–52. http://dx.doi.org/10.35218/tco.2022.12.2.05.

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This paper aims to investigate the theatrical practices that define the work of one of the most influential voices in 20th century theatre. The practices and methods developed by Joan Littlewood over four decades of work outline a highly personal, inventive and dynamic aesthetic in which the emphasis is on creating cohesion within the team. The team is seen as a ”composite mind”, an ensemble that through rigorous physical and vocal training, complex theme documentation and improvisation, comes to function organically and is able to explore more freely and intensely. The use of a wide variety of means and formulas - music hall, commedia dell'arte, clowning, mime, but also elaborate lighting, cinematic projections, sound effects - and the involvement of the audience in the scenic approach are also defining elements of the theatre promoted by Joan Littlewood.

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Favre, June. „Did Clive Barker Write The Hostage?“ New Theatre Quarterly 23, Nr. 4 (November 2007): 326–30. http://dx.doi.org/10.1017/s0266464x07000243.

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Clive Barker often wrote about Joan Littlewood and his time at Theatre Workshop with a mixture of warmth and bewilderment at her unorthodox methods. While preparing her doctoral thesis, Text and Collaboration: an Examination of the Roles of Joan Littlewood and Theatre Workshop in the Genesis and Production of Brendan Behan's ‘The Hostage’, at the National University of Ireland, Galway, June Favre wrote to Clive praising the article ‘Closing Joan's Book: Some Personal Footnotes’ (NTQ, May 2003). As a result of that first letter, Clive and June began a correspondence – exchanging questions, notes, published and unpublished material, with a final email to June dated 4 March 2005, less than two weeks before his death on 17 March. Clive had accepted the position of external examiner for the thesis with the viva voce to take place 10 May 2005 in Galway – a city Clive had never visited. An email sent on 21 February 2005 informed June that Clive was looking forward to ‘seeing the sun go down on Galway Bay’. His sudden death deprived him of that pleasure. Concluding the ‘Acknowledgments’ of the thesis, June wrote: ‘Above all my heartfelt gratitude for the dozens of emails, letters, and articles Clive Barker shared with me. He promptly supplied information on Joan Littlewood and the productions of Brendan Behan plays from first-hand experience.’ There follow some of the informative and humorous exchanges between Clive and June, who was awarded her doctoral degree later in 2005.

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허순자. „Joan Littlewood and the Theatre Workshop's Theatre Practice“. Journal of korean theatre studies association 1, Nr. 64 (November 2017): 127–68. http://dx.doi.org/10.18396/ktsa.2017.1.64.005.

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Edwards, Gwynne. „Theatre Workshop and the Spanish Drama“. New Theatre Quarterly 23, Nr. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.

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Nicholson, Steve. „Joan's Book: Joan Littlewood's Peculiar History As She Tells It. By Joan Littlewood, London: Methuen, 1994. Pp. xx + 796. £20.“ Theatre Research International 20, Nr. 1 (1995): 65. http://dx.doi.org/10.1017/s0307883300007185.

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Gottlieb, Vera. „Joan Littlewood Joan's Book: Joan Littlewood's Peculiar History As She Tells ItLondon: Methuen, 1994. 796 p. £20 (hbk). ISBN 0-413-640770-1.“ New Theatre Quarterly 11, Nr. 42 (Mai 1995): 197. http://dx.doi.org/10.1017/s0266464x00001287.

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Holden Reid, Brian. „From Liddell Hart to Joan Littlewood: Studies in British Military History“. RUSI Journal 162, Nr. 1 (02.01.2017): 88–89. http://dx.doi.org/10.1080/03071847.2017.1301656.

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Dissertationen zum Thema "Littlewood, joan"

Idrissi, Nizar. „Stephen Poliakoff: another icon of contemporary British drama“. Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Bücher zum Thema "Littlewood, joan"

Holdsworth, Nadine. Joan Littlewood. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203702581.

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Joan Littlewood. Abingdon, [England]: Routledge, 2006.

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Holdsworth, Nadine. Joan Littlewood's theatre. Cambridge, UK: Cambridge University Press, 2011.

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Clegg, Barbara. The man who made Littlewoods: The story of John Moores. London: Hodder & Stoughton, 1993.

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Macpherson, Ben. Joan Littlewood. Herausgegeben von Robert Gordon und Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.19.

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This chapter reassesses the work of Joan Littlewood and Theatre Workshop from the 1950s to the 1970s. It finds that, in many instances, Littlewood’s visionary approach to collaborative devising and her innovative borrowing from a breadth of theatrical traditions broadened the scope of the British musical as a vehicle for social engagement, with a legacy that is both tangible and vital as part of the history of twentieth-century musical theatre. Yet, the chapter argues that in many ways, at the root of Littlewood’s approach was an often contradictory world view: at once critical of the Establishment and simultaneously embedded within it. The chapter concludes by arguing that this paradoxical approach is what makes Littlewood’s work so innovative and, ultimately, so typically British.

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Holdsworth, Nadine. Joan Littlewood. Taylor & Francis Group, 2017.

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Holdsworth, Nadine. Joan Littlewood. Routledge, 2006. http://dx.doi.org/10.4324/9780203448489.

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Holdsworth, N. Joan Littlewood. Routledge, 2006.

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Holdsworth, Nadine. Joan Littlewood. Taylor & Francis Group, 2017.

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Holdsworth, Nadine. Joan Littlewood. Taylor & Francis Group, 2017.

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Buchteile zum Thema "Littlewood, joan"

Bradby, David, und David Williams. „Joan Littlewood“. In Directors’ Theatre, 24–50. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_2.

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Holdsworth, Nadine. „Biography in Political, Social and Artistic Context“. In Joan Littlewood, 1–42. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203702581-1.

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Holdsworth, Nadine. „Joan Littlewood’s Working Method“. In Joan Littlewood, 43–75. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203702581-2.

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Holdsworth, Nadine. „Description and Analysis of Oh What a Lovely War“. In Joan Littlewood, 77–114. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203702581-3.

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Holdsworth, Nadine. „Practical Exercises“. In Joan Littlewood, 115–35. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203702581-4.

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Karlıdağ, Fatİne Bahar. „Joan Littlewood (1914–2002)“. In The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism, 280–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003006923-43.

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O'Harra, Brooke. „Who Is Joan Littlewood? Or The Impossibility of the Auteur“. In Who Is In the Room?, 48–59. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003253402-5.

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Crook, Tim. „Direct BBC Censorship of Modernist Texts by D.G. Bridson and His Negotiation with Joan Littlewood and Olive Shapley of ‘Institutional Containment’“. In Palgrave Studies in Sound, 247–76. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-8241-7_11.

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„Joan Littlewood“. In Twentieth-Century Actor Training, 131–46. Routledge, 2012. http://dx.doi.org/10.4324/9780203007600-13.

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„Joan Littlewood: Goodbye note from Joan“. In Physical Theatres: A Critical Reader, 123–24. Routledge, 2007. http://dx.doi.org/10.4324/9780203012857-28.

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