Relevant bibliographies by topics / Radical group theatre

Academic literature on the topic 'Radical group theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Radical group theatre"

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Kershaw, Baz. "Building an Unstable Pyramid: the Fragmentation of Alternative Theatre." New Theatre Quarterly 9, no. 36 (November 1993): 341–56. http://dx.doi.org/10.1017/s0266464x00008241.

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In his earlier article, ‘Poaching in Thatcherland: a Case of Radical Community Theatre’, (NTQ34, May 1993), Baz Kershaw explored the work of the regional touring group EMMA during the 1970s, looking in particular at the quality of ‘performative contradiction’ which enabled it, for example, to make a subversive political statement within the ostensibly safe ambience of a play steeped in rural nostalgia. Here, he explores other paradoxes of that era of burgeoning alternative and community theatre activity in the years before Thatcher, assessing the role and the ‘hidden agenda’ of the funding bodies, and analyzing and contrasting the working methods, aims, and resources of two of their very different clients – the ‘national’ fringe company Joint Stock, and the small-scale ‘reminiscence theatre’ group, Fair Old Times. Although both groups were engaged in the ostensibly radical and oppositional theatre practice which eventually led to their closures, there was, notes Kershaw, an increasing tendency by the funding bodies to judge the work of the latter by the more amply endowed standards of the former. Baz Kershaw, who lectures in Theatre Studies at Lancaster University, wrote for the original Theatre Quarterly on the work of Fair Old Times's ‘parent’ company, Medium Fair (TQ30, 1978), and has put the present studies into a broader context in his most recent book, The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992). He is co-author, with Tony Coult, of Engineers of the Imagination (Methuen, 1983), a study of Welfare State, and has also contributed to Performance and Theatre Papers.
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Kershaw, Baz. "Poaching in Thatcherland: a Case of Radical Community Theatre." New Theatre Quarterly 9, no. 34 (May 1993): 121–33. http://dx.doi.org/10.1017/s0266464x00007715.

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EMMA was one of the many small-scale touring groups which flourished as part of the community theatre movement of the 1970s. That it died within a year of the Thatcher decade was due, ironically, not to direct political intervention but to a financial crisis within its funding body, East Midlands Arts, brought on by its attempt to centralize community projects and render them safely retrospective. Here, Baz Kershaw compares the practice of EMMA with its stated intentions, and looks in detail at one of its self-created plays, The Poacher, as an example of ‘performative contradiction’ – in this case, the making of a subversive political statement within the ostensibly safe ambience of the rural nostalgia industry. Baz Kershaw, who lectures in Theatre Studies at Lancaster University, wrote for the original Theatre Quarterly on the rural community arts group Medium Fair. He has also contributed to Performance and Theatre Papers, and was co-author with Tony Coult of a study of Welfare State, Engineers of the Imagination. His most recent work is The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992).
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Galella, Donatella, Masi Asare, Jordan Ealey, SAJ, Hye Won Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa, and Celine Parreñas Shimizu. "MT/D, or change: An anti-racist musical theatre reading group." Studies in Musical Theatre 16, no. 1 (April 1, 2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.

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In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.
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Kérchy, Vera. "The Responsible Hands of Theatre : Minor and Major Forces on the Stage of Metanoia Artopédia." Theatron 16, no. 4 (2022): 118–28. http://dx.doi.org/10.55502/the.2022.4.118.

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In this study, I analyze the 2013 performance of Metanoia Artopédia, Ice Doctrines. Variations on Nazi Rhetoric in the context of the history of the Hungarian independent theater group. Using Judith Butler’s thoughts on hate speech and Gilles Deleuze’s minor/major use of language, I try to show that the shift to “major” forms and topics (the power of representation and the representation of power) from an Artaud-ian “minor” theatre does not mean a radical change in the group’s history, and the theater of “kings and princes” gets necessarily deconstructed on the stage of Metanoia. After 20 years of owning a minor perspective – the world of the “saint idiots” – the group takes the perpetrator’s point of view and stages the Lingua Tertii Imperii (the language of the Third Reich). Still, Ice Doctrines remains “minor” as it finds the “lines of escape” within representation.
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Nielsen, Ken. "Gone With the Plague." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 58–70. http://dx.doi.org/10.7146/nts.v25i1.110898.

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This article suggests that two historical performances by the Danish subcultural theatre group Buddha og Bagbordsindianerne should be understood not simply as underground, amateur cabarets, but rather that they should be theorized as creating a critical temporality, as theorized by David Román. As such, they function to complicate the past and the present in rejecting a discourse of decency and embracing a queerer, more radical sense of citizenship. In other words, conceptualizing these performances as critical temporalities allows us not only to understand two particular theatrical performances of gay male identity and AIDS in Copenhagen in the late 1980s, but also to theorize more deeply embedded tensions between queer identities, temporality, and citizenship. Furthermore, by reading these performances and other performances like them as critical temporalities we reject the willful blindness of traditional theatre histories and make a more radical theatre history possible.
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Nielsen, Ken. "Gone With the Plague." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 58–70. http://dx.doi.org/10.7146/nts.v25i1.110898.

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This article suggests that two historical performances by the Danish subcultural theatre group Buddha og Bagbordsindianerne should be understood not simply as underground, amateur cabarets, but rather that they should be theorized as creating a critical temporality, as theorized by David Román. As such, they function to complicate the past and the present in rejecting a discourse of decency and embracing a queerer, more radical sense of citizenship. In other words, conceptualizing these performances as critical temporalities allows us not only to understand two particular theatrical performances of gay male identity and AIDS in Copenhagen in the late 1980s, but also to theorize more deeply embedded tensions between queer identities, temporality, and citizenship. Furthermore, by reading these performances and other performances like them as critical temporalities we reject the willful blindness of traditional theatre histories and make a more radical theatre history possible.
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Kershaw, Baz. "The Theatrical Biosphere and Ecologies of Performance." New Theatre Quarterly 16, no. 2 (May 2000): 122–30. http://dx.doi.org/10.1017/s0266464x00013634.

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In what would a postmodern theatrum mundi, or ‘theatre of the world’, consist? In an ironic inversion of the very concept, with the microcosm issuing a unilateral declaration of independence – or of incorporation? Or in a neo-neoplatonic recognition that it is but a cultural construct of an outer world that is itself culturally constructed? In the following article, Baz Kershaw makes connections between the high-imperial Victorian love of glasshouses, which at once created and constrained their ‘theatre of nature’, and the massive 'nineties ecological experiment of ‘Biosphere II’ – ‘a gigantic glass ark the size of an aircraft hangar situated in the Southern Arizona desert’, which embraces all the main types of terrain in the global eco-system. In the Biosphere's ambiguous position between deeply serious scientific experiment and commodified theme park, Kershaw sees an hermetically-sealed system analogous to much contemporary theatre – whose intrinsic opacity is often further blurred by a theorizing no less reductive than that of the obsessive Victorian taxonomists. He offers not answers, but ‘meditations’ on the problem of creating an ecologically meaningful theatre. Baz Kershaw, currently Professor of Drama at the University of Bristol, originally trained and worked as a design engineer. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and as co-director of Medium Fair, the first mobile rural community arts group, and of the reminiscence theatre company Fair Old Times. He is the author of The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992) and The Radical in Performance: Between Brecht and Baudrillard (Routledge, 1999), and co-author of Engineers of the Imagination: the Welfare State Handbook (Methuen, 1990).
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Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (November 7, 2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional novel The Cynics (1928). The article also discusses the Imaginists’ writings on the essence of theatre as an autonomous art form – Shershenevich’s actitivy in the OGT (Experimental Heroic Theatre) and Mariengof ’s participation in the work of the MKT (Moscow Kamerny Theatre).
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Paget, Derek. "Theatre Workshop, Moussinac, and the European Connection." New Theatre Quarterly 11, no. 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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Farinelli, Patrizia. "Political, intimate and spectacular." Maska 31, no. 181 (December 1, 2016): 26–38. http://dx.doi.org/10.1386/maska.31.181-182.26_1.

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The article analyses selected performances from the Venice Biennale International Theatre Festival 2015. On the spectrum of quality performances with political and existential messages were works that showed an affinity for “modest” theatre, which still draws inspiration from Grotowski (La Zaranda), works with innovative design, which tend towards a revival of the modernist tradition while introducing new strategies of performance (Fabrice Murgia), and even experimental performances of a highly mixed genre. An example of the latter is the project by the group Agrupación Señor Serrano, in which exhausted theatrical conventions are displayed with radical freshness.
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Dissertations / Theses on the topic "Radical group theatre"

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Foster, Michael E., and n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975." Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.

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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
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Foster, Michael E. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366270.

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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
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Montgomery, R. L. "The idea(l) of the 'group' in radical theatre: A dramaturgical analysis of three American Theatre Groups of the 1960s." Thesis, University of Canterbury. Theatre & Film Studies, 2002. http://hdl.handle.net/10092/4846.

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In the 1960s 'groupishness' appears to have been a common phenomenon, especially amongst the young. In America, a major movement developed that combined the politics of the New Left with what are often described as 'countercultural' influences - sexual freedom, drug experimentation, Eastern mysticism, and communal living - to comprise 'the Movement'. Group experimentation was a cornerstone of the Movement. American radical theatres were a cornerstone of the Movement. These theatres experimented extensively with group work, usually under the rubric of 'collective creation'. This thesis examines three American radical theatres of the 1960s, the Living Theatre, the San Francisco Mime Troupe, and the Performance Group, in the context of their ideas and ideals about the group as they were expressed both on stage and off. Using concepts advanced by W.R. Bion, Erving Goffman, Rosabeth Kanter and Victor Turner, it is argued that an underlying 'ultrademocratic', i.e., anti-hierarchical-yet-individualistic, 'liminoid' group paradigm affected all three radical theatres to varying degrees. This paradigm combined an idea of the group as a potential threat to individual autonomy with an idealised image of the group as a conduit to communitas. The ways in which these theatres sought to create, express and reconcile the existential, normative and ideological dimensions of communitas, and their attendant efforts at celebrating individuality or effacing individualism are considered. The Living Theatre's Paradise Now (1968), the San Francisco Mime Troupe's The Minstrel Show or Civil Rights in a Cracker Barrel (1965), the Performance Group's Dionysus in 69 (1968), and the concept of 'Guerrilla Theatre' as espoused both by the Mime Troupe and a Mime Troupe offshoot, the Diggers, are analysed in this regard, as are other particular productions. Detailed attention is given to the position of the director as leader in a climate of ultrademocracy.
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Books on the topic "Radical group theatre"

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Holmes, Sean P. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0008.

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This epilogue traces the collapse of the old theatrical economy after the onset of the Great Depression and assesses its impact on the men and women of the American stage. Highlighting the huge decline in employment opportunities in a perennially overcrowded labor market in the wake of the Great Crash, it argues that the brand of occupational unionism that had underpinned the activities of the Actors' Equity Association (AEA) in the 1920s ceased to meet the needs of the theatrical rank and file. In the highly politicized environment of the 1930s, traditional patterns of deference within the acting community broke down, and a new generation of actors, largely unschooled in the genteel tradition in American culture, began to question the wisdom of building an occupational identity around the twin ideals of workplace discipline and respectability. In 1935 a group of militants set out to seize control of the AEA and to guide it in a more radical direction. Though their insurgency failed, it had profound implications for actors' unionism in the American theater industry. It prompted a reorientation of the AEA toward the bread-and-butter needs of its constituents and a frank acknowledgment on the part of its leaders that actors are workers as well as artists—and that the first role is indivisible from the second.
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Book chapters on the topic "Radical group theatre"

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Sambo, Usman, and Babayo Sule. "Financing as a Livewire for Terrorism." In Money Laundering and Terrorism Financing in Global Financial Systems, 157–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8758-4.ch007.

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Terrorism is a global security concern that dominates the theatre of intellectual discourse in the contemporary world. This chapter is taking the case of one of the deadliest insurgents and a terrorist group in the history of Nigeria and also examined various sources of finances of this group in detail. From radical preaching, this group transformed into a terrorist group attacking security, innocent citizens, and all and sundry. As a qualitative study, the social conflict model is adopted in explaining the framework of the existing literature. The data obtained was analyzed critically using content analysis. The study discovered that insurgents sourced their finances through internal and external sources, legal and illegal engagements. The study recommends among several others that the Nigerian Government and security operatives should intensify the process of identifying, tracing, and blockage of the sources of finances for terrorism.
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Young, Dannagal Goldthwaite. "The Counterculture Comics versus the Hate Clubs of the Air." In Irony and Outrage, 8–31. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190913083.003.0001.

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This chapter describes what is referred to as the first generation of American irony and outrage of the 1960s: the radical counterculture comedy of the 1960s versus conservative talk radio programming. While conservative voices on limited-circulation radio stations around the country were railing against the United Nations and a liberal United States Supreme Court, liberal activists in New York and San Francisco were producing a very different kind of political information that was antiwar, antisegregation, and anti–status quo: ironic social and political satire in smoky underground comedy clubs and coffeehouses. The chapter provides historical details about conservative radio shows hosted by people like Clarence Manion and Dan Smoot, and contrasts these shows’ voice and approach with that of radical satirists of that same era, particularly that of the improvisational political comedy theatre company The Committee, including insights from interviews with members of the group.
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Papanikolaou, Dimitris. "Archive Trouble." In Greek Weird Wave, 171–94. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474436311.003.0007.

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Attempting to answer some of the questions set in the previous chapter, this chapter turns to a theatre performance (City State, by the group Kanigunda) and a film (Homeland; dir. Tzoumerkas), both from 2010. Putting particular emphasis on the performance aesthetics of collage in the former, and the idiosyncratic editing style of the latter, the chapter develops a theory of archive trouble. Archive trouble is an embodied reaction to history-telling that aims to disturb its traditional forms, disassemble its accepted versions and rearticulate body and history. It is argued that ‘as archive trouble becomes a central modality of biopolitical realism, archival and allegorical modes of expression start working together, echoing one another, feeding off one another’, but also undermining each other. The Weird Wave’s radical potential rests on the way it problematizes archives of history and belonging, at the same time as it focuses on the limits of the body’s biopolitical condition.
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Oakley, Warren. "When sorrows come, they come not single spies." In Thomas 'Jupiter' Harris, 123–70. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526129123.003.0004.

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This chapter recounts the destruction of Covent Garden theatre by fire in 1808. In piecing together this event, it explores Harris’s potential complicity in the fire; his attempts to finance the rebuilding of the theatre; and the far-reaching financial, social, and political consequences. In doing so, Harris’s relationship with the Duke of Bedford is brought into focus. On the opening of the new theatre in 1809, terror was brought to the Garden through the Old Price riots. As these riots frustrated all attempts at performance for nearly three months, they hold an important place in the history of disorder in England. The riots gave a group of leading Westminster radicals, including Henry Clifford, the chance to oppose Harris and fight his political dominance. They reveal the defeat of a government agent during one of the most turbulent periods in the capital’s history. Only through understanding Harris’s career is it possible to appreciate fully the fight against radicalism in early nineteenth-century London.
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Lena, Jennifer C. "The WPA and the Opening of the American Arts." In Entitled, 26–40. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0002.

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This chapter focuses on the infusion of state subsidies during the New Deal, which accelerated the pace of artistic legitimation and widened its path. Federal and state governments paid for the production and display of an enormous amount and variety of culture. This diversified the content and personnel in American creative fields and accelerated the transformation of many forms of vernacular culture into art. It was this world, rich with variety, in which an artistically voracious group of Americans was born and enculturated. The chapter then looks at the establishment of the Works Progress Administration (WPA). While the purpose of the WPA was to provide an income for starving artists, its unintended consequence was a radical opening of access to the arts and heretofore “illegitimate” culture. Under the WPA, the four programs referred to as “Federal Project Number One” provided subsidies for the production of visual art, music, theater, and literature.
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Halliwell, Martin. "The Ceremony is about to Begin: Performance and 1968." In Reframing 1968. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748698936.003.0008.

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Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.
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"Examples of British Brecht discussed here include George Devine’s production of The Good Woman of Setzuan, Sam Wanamaker’s The Threepenny Opera and William Gaskill’s The Caucasian Chalk Circle. (Throughout this book all the play titles given reproduce exactly the translations used for the particular productions discussed.) The chapter also includes a brief assessment of the relationship between the work of Brecht and that of key British playwrights: John Arden, Arnold Wesker, John Osborne, Robert Bolt and Edward Bond. Chapter 3 describes the ways in which the political upheavals of 1968 and the social and artistic developments in Britain made Brecht eminently suitable and accessible to radical theatre groups. It analyses the impact of politically committed theatre practitioners’ attempts to take on all aspects of Brecht’s dramatic theory, political philosophy and, as far as possible, theatre practice. Detailed analyses of Brecht productions by some key radical companies (e.g. Foco Novo, Belt and Braces Roadshow, Liverpool’s Everyman Theatre, Manchester’s Contact Theatre and Glasgow’s Citizens Theatre) demonstrate how their commitment to the integra-tion of political meaning and aesthetic expression contributed to the growing understanding and acceptance of Brecht’s theatre in Britain. This achievement is contrasted in Chapter 4 with the ways in which Brecht’s plays were incorporated into the classical repertoire by the national companies – the Royal Shakespeare Company and the National Theatre – in the 1970s and 1980s. Here there is an assessment of the damaging impact on these Brecht productions of the companies’ hierarchical structure and organisation, the all-too-frequently non-collaborative approaches to production, and the undue emphasis placed on performance style and set design, often in isolation from a genuine commitment to the intrinsic, socio-political meaning of the texts. The chapter centres on the productions of Brecht in the 1970s and 1980s for the Royal Shakespeare Company directed by Howard Davies, and on those at the National Theatre directed by John Dexter and Richard Eyre. Chapter 5 presents three case studies, that is, detailed accounts based on access to rehears-als and on interviews with the relevant directors and performers, of three major British productions of Brecht plays in the early 1990s. The first case study is of the award-winning production of The Good Person of Sichuan at the National Theatre in 1989/90, directed by Deborah Warner, with Fiona Shaw as Shen Te/Shui Ta. The second is of the Citizens Theatre’s 1990 production of Mother Courage, directed by Philip Prowse, with Glenda Jackson in the title role. And the third is of the National Theatre’s The Resistible Rise of Arturo Ui, directed in 1991 by Di Trevis, with Antony Sher as Ui. The main focus of this chapter and its case-studies is the relationship in practice between Brechtian theory, and the aesthetics and the politics of the texts, in both the rehearsal process and the finished performances." In Performing Brecht, 16. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-12.

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