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Libri sul tema "Littlewood, joan"

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Autore: Grafiati

Pubblicato: 27 luglio 2024

Ultima modifica: 28 luglio 2024

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1

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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2

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

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3

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

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4

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

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5

Macpherson, Ben. Joan Littlewood. A cura di Robert Gordon e 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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6

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

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7

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

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8

Holdsworth, N. Joan Littlewood. Routledge, 2006.

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9

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

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10

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

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11

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

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12

Joan Littlewood. Taylor & Francis Group, 2006.

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13

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

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14

Joan Littlewood. Taylor & Francis Group, 2017.

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15

Boon. Joan Littlewood (Directors in Perspective). Cambridge Univ Pr (Sd), 2003.

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16

Joan Littlewood: Dreams and Realities. Oberon Books, Limited, 2014.

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17

Littlewood, Joan, e Philip Hedley. Joan's Book: The Autobiography of Joan Littlewood. Bloomsbury Publishing Plc, 2016.

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18

Joan's Book: The Autobiography of Joan Littlewood. Bloomsbury Publishing Plc, 2016.

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19

Littlewood, Joan, e Philip Hedley. Joan's Book: The Autobiography of Joan Littlewood. Bloomsbury Publishing Plc, 2016.

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20

Joan's Book: The Autobiography of Joan Littlewood. Bloomsbury Publishing Plc, 2016.

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21

Joan's book: The autobiography of Joan Littlewood. London: Methuen, 2003.

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22

Joan Littlewood : Dreams and Realities: The Official Biography. Oberon Books, Limited, 2014.

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23

Joan Littlewood l'insoumise et le Theatre Workshop: Une aventure théâtrale. Montpellier: Entretemps, 2010.

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24

THEATRE WORKSHOP: JOAN LITTLEWOOD AND THE MAKING OF MODERN BRITISH THEATRE. EXETER: UNIV OF EXETER PRESS, 2007.

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25

Leach, Robert. Theatre Workshop: Joan Littlewood And the Making of Modern British Theatre. University of Exeter Press, 2007.

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26

Bond, Brian. From Liddell Hart to Joan Littlewood: Studies in British Military History. Helion & Company, Limited, 2015.

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27

Leach, Robert. Theatre Workshop: Joan Littlewood And the Making of Modern British Theatre (Exeter Performance Studies). University of Exeter Press, 2007.

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28

Miró, Ana Bonet. Architecture, Media, Archives: The Fun Palace of Joan Littlewood and Cedric Price As a Cultural Project. Bloomsbury Publishing Plc, 2024.

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29

Joan's book: Joan Littlewood's peculiar history as she tells it. London: Methuen, 1994.

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30

Finburgh, Clare, e Peter M. Boenisch, a cura di. The Great European Stage Directors. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781474208369.

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Abstract (sommario):

Creating their major productions in the prosperous ‘glorious decades’ that followed the devastation of the Second World War, Joan Littlewood, Giorgio Strehler and Roger Planchon represent a first expressly ‘European’ generation of theatre directors. Revisiting works from the classical dramatic canon by drawing on popular theatre traditions, and reaching out to spectators beyond the educated middle-class elite, they put theatre in the service of uniting a traumatised continent. For Littlewood, Strehler and Planchon, theatre has the capacity to create communities. This volume shows how these three directors take up key aesthetic prompts from earlier innovators – Stanislavski, the modernist avant-garde and not least Brecht – and thereby prepare the ground for contemporary, politically-engaged ‘directors’ theatre’.

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31

Holdsworth, Nadine. Joan Littlewood's Theatre. University of Cambridge ESOL Examinations, 2015.

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32

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

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33

Wells, Elizabeth. After Anger. A cura di Robert Gordon e Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.10.

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Abstract (sommario):

The late 1950s saw an astonishing emergence of iconoclastic and modernistic approaches to the genre of the British musical. Directors like Joan Littlewood and her Theatre Workshop company produced a number of dark, cynical, and experimental musicals in the late 1950s that provided British theatre professionals and audiences alike with an alternative to the dominant American style. Many attempted to bring this new and particularly British voice to the West End. An investigation of the musical, dramatic, and cultural context of the exceptional and important ‘Soho’ shows, which include Expresso Bongo, The Crooked Mile, Fings Ain’t Wot They Used T’Be, and Make Me an Offer, reveals these works as microcosms of their cultural environment as well as marking new directions in British musical theatre. Culminating in Oliver!, arguably the best-known British musical of this era, this development heralded a time of experimentation, social commentary, and modernism.

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34

Gordon, Robert. Billy Elliot and Its Lineage. A cura di Robert Gordon e Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.16.

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In the years since 1954, the British musical has in various ways represented the changes that have occurred in social and political attitudes. The camp style of Salad Days and The Boy Friend encodes its critique of the Conservative government’s repressive policies of heteronormative conformity in the early 1950s by exploiting popular traditions of pantomime and music hall performance to valorize an emergent gay sensibility, while the theatre of Joan Littlewood at Stratford East utilized these same popular forms in the construction of a socialist theatre capable of articulating a working-class culture. These two recurrent conceptions of alternative political performance—the subversive queer/camp strategy and the Marxian aesthetic of alternative politics and culture—interact and are combined to startling effect in Billy Elliot, whose dialectical arguments around the relationship between class and gender/sexual orientation, popular and ‘high’ art provide a prime example of British theatre at its most socially aware.

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35

The Man Who Made Littlewoods: The Story of John Moores (Teach Yourself). Hodder & Stoughton, 1994.

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36

LITTLEWOOD, JOAN. JOAN'S BOOK: JOAN LITTLEWOOD'S PECULIAR HISTORY AS SHE TELLS IT. MINERVA, 1995.

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37

John, Fawcett. Divine Mercy, the Refuge of Sinners in Distress: A Discourse Delivered at the Funeral of the Late Mrs. Littlewood, Rochdale, May 28, 1799, by John Fawcett, A. M. to Which Is Added, an Address at the Interment, by John Hindle. Creative Media Partners, LLC, 2018.

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