Tom Cornford is Senior Lecturer in Theatre and Performance at The Royal Central School of Speech and Drama, University of London.

‘This is a rigorously compelling examination of a long-neglected area of British theatrical history. With confidence and acuity Tom Cornford lays out the tangled strands of influence and achievement that constitute the Theatre Studio tradition in this country. His examination of the benefits and pitfalls of ensemble theatre-making is sharp, provocative and always surprising.’ – Sean Holmes, Associate Artistic Director, Shakespeare’s Globe and formerly Artistic Director of the Lyric, Hammersmith'This book recontextualises and critiques three fundamental strands of British theatre history through the lens of the theatre studios of Michel Saint-Denis, Michael Chekhov and Joan Littlewood. It is comprehensively researched, elegantly written, robustly argued and emphatically current.' – Jonathan Pitches, Professor of Theatre and Performance at the University of Leeds

• Introduction: Ensemble Theatre-Making and the Theatre Studio Tradition; Section 1 The London Theatre Studio (1936-1939) and the Old Vic Theatre Centre (1947-1952); Chapter 1 Remnants of the London Theatre Studio and the Old Vic Theatre Centre Chapter 2 Practices of the London Theatre Studio and Old Vic Theatre Centre; Chapter 3 Models of Practice in the London Theatre Studio and Old Vic Theatre Centre; Section 2 The Chekhov Theatre Studio (1936-1942); Chapter 4 Remnants of the Chekhov Theatre Studio; Chapter 5 Practices of the Chekhov Theatre Studio; Chapter 6 Models of Practice in the Chekhov Theatre Studio; Section 3 Theatre Workshop (1945-63); Chapter 7 Remnants of Theatre Workshop; Chapter 8 Practices of Theatre Workshop, 1945-55; Chapter 9 Models of Practice in Theatre Workshop; Conclusion Why Do Theatre Studios Matter?

Tom Cornford is Senior Lecturer in Theatre and Performance at The Royal Central School of Speech and Drama, University of London.

‘This is a rigorously compelling examination of a long-neglected area of British theatrical history. With confidence and acuity Tom Cornford lays out the tangled strands of influence and achievement that constitute the Theatre Studio tradition in this country. His examination of the benefits and pitfalls of ensemble theatre-making is sharp, provocative and always surprising.’ – Sean Holmes, Associate Artistic Director, Shakespeare’s Globe and formerly Artistic Director of the Lyric, Hammersmith'This book recontextualises and critiques three fundamental strands of British theatre history through the lens of the theatre studios of Michel Saint-Denis, Michael Chekhov and Joan Littlewood. It is comprehensively researched, elegantly written, robustly argued and emphatically current.' – Jonathan Pitches, Professor of Theatre and Performance at the University of Leeds

• Introduction: Ensemble Theatre-Making and the Theatre Studio Tradition; Section 1 The London Theatre Studio (1936-1939) and the Old Vic Theatre Centre (1947-1952); Chapter 1 Remnants of the London Theatre Studio and the Old Vic Theatre Centre Chapter 2 Practices of the London Theatre Studio and Old Vic Theatre Centre; Chapter 3 Models of Practice in the London Theatre Studio and Old Vic Theatre Centre; Section 2 The Chekhov Theatre Studio (1936-1942); Chapter 4 Remnants of the Chekhov Theatre Studio; Chapter 5 Practices of the Chekhov Theatre Studio; Chapter 6 Models of Practice in the Chekhov Theatre Studio; Section 3 Theatre Workshop (1945-63); Chapter 7 Remnants of Theatre Workshop; Chapter 8 Practices of Theatre Workshop, 1945-55; Chapter 9 Models of Practice in Theatre Workshop; Conclusion Why Do Theatre Studios Matter?

Tom Cornford is Senior Lecturer in Theatre and Performance at The Royal Central School of Speech and Drama, University of London.

‘This is a rigorously compelling examination of a long-neglected area of British theatrical history. With confidence and acuity Tom Cornford lays out the tangled strands of influence and achievement that constitute the Theatre Studio tradition in this country. His examination of the benefits and pitfalls of ensemble theatre-making is sharp, provocative and always surprising.’ – Sean Holmes, Associate Artistic Director, Shakespeare’s Globe and formerly Artistic Director of the Lyric, Hammersmith'This book recontextualises and critiques three fundamental strands of British theatre history through the lens of the theatre studios of Michel Saint-Denis, Michael Chekhov and Joan Littlewood. It is comprehensively researched, elegantly written, robustly argued and emphatically current.' – Jonathan Pitches, Professor of Theatre and Performance at the University of Leeds

• Introduction: Ensemble Theatre-Making and the Theatre Studio Tradition; Section 1 The London Theatre Studio (1936-1939) and the Old Vic Theatre Centre (1947-1952); Chapter 1 Remnants of the London Theatre Studio and the Old Vic Theatre Centre Chapter 2 Practices of the London Theatre Studio and Old Vic Theatre Centre; Chapter 3 Models of Practice in the London Theatre Studio and Old Vic Theatre Centre; Section 2 The Chekhov Theatre Studio (1936-1942); Chapter 4 Remnants of the Chekhov Theatre Studio; Chapter 5 Practices of the Chekhov Theatre Studio; Chapter 6 Models of Practice in the Chekhov Theatre Studio; Section 3 Theatre Workshop (1945-63); Chapter 7 Remnants of Theatre Workshop; Chapter 8 Practices of Theatre Workshop, 1945-55; Chapter 9 Models of Practice in Theatre Workshop; Conclusion Why Do Theatre Studios Matter?