Anthony Jackson – författare

In the two decades since the publication of the second edition, Learning Through Theatre has further established itself as an indispensable resource for scholars, practitioners and educators interested in the complex interrelations between teaching and learning, the performing arts, and society at large. Theatre in Education (TIE) has consistently been at the cutting edge of the ever-growing field of Applied Theatre; this comprehensively revised new edition makes an international case for why, and how, it will continue to shape ways in which the participatory arts contribute to the learning of young people (and increasingly, adults) in the 21st century.

Drawing on the experiences and insights of theorists and practitioners from across the world, Learning Through Theatre shows how theatre can, and does, promote:

Now transatlantically edited by Anthony Jackson and Chris Vine, Learning Through Theatre offers exhilarating new reflections on the book’s original aim: to define, describe and debate the salient features, and wider political context, of one of the most important – and radical – developments in contemporary theatre.

In the two decades since the publication of the second edition, Learning Through Theatre has further established itself as an indispensable resource for scholars, practitioners and educators interested in the complex interrelations between teaching and learning, the performing arts, and society at large. Theatre in Education (TIE) has consistently been at the cutting edge of the ever-growing field of Applied Theatre; this comprehensively revised new edition makes an international case for why, and how, it will continue to shape ways in which the participatory arts contribute to the learning of young people (and increasingly, adults) in the 21st century.

Drawing on the experiences and insights of theorists and practitioners from across the world, Learning Through Theatre shows how theatre can, and does, promote:

Now transatlantically edited by Anthony Jackson and Chris Vine, Learning Through Theatre offers exhilarating new reflections on the book’s original aim: to define, describe and debate the salient features, and wider political context, of one of the most important – and radical – developments in contemporary theatre.

You thought that when the Romans left, the Saxons came; at least that was what we were all told in school. There are precise dates as well The Romans left in 410 AD and the Saxons came in 440AD. Somewhere in this clear cut time lies a problem called the Arthurian legends. It is as if the clear cut strata in an archaeological dig are subjected to a microscopic analysis to reveal a rather less clear cut profile.

Further, we all have a concept of King Arthur that has been handed to us since the time of Mallory. So that was Arthur was it? Wrong. The only invaders were Saxons, right? Wrong. Arthur was something to do with Merlin-right? Wrong. We are always told the truth by historians, right? Wrong. In terms of what we know, the history has been defined within those references which have led to a distortion of the history.

Be in no doubt that King Arthur existed and there was more than one. Unravelling the ancient sources such as Gildas, Nennius, Bede and other works leads us out of a fairytale of Hollywood into the harsh reality of the early post Roman empire; a world of Civil war and Celtic invasion.

What has been learned is that there was more than one Arthur, in fact many names were repeated and confused, Ambrosius, Ambrosius Aurielanus, Uther, Arthur, Maximus (which one would you like) and Vortigern at a time when not only were the Saxons coming, so were the Scots (the real name of the Irish as conferred by the Romans), Danes at the same time as a tripartite Roman civil war was taking place. So the history of the time is clear?-please read on, its time to become confused.

The history of British architecture since 1930 has been one of frequently heated controversy between the old idiom and the new and between various social and technological viewpoints. The battle is by no means over; indeed it is spreading to wider issues and outside what was previously a largely professional sphere. A book like this one, which spells out the issues and describes how they arose, is therefore of interest not only to architects and students of architecture but to the growing general public concerned about the man-made environment.

Professor Jackson looks at the buildings of the period as the products of peculiar sets of circumstances, as works of art and in terms of what their designers were trying to achieve. And since there is much worth studying in the critical zone that separates architectural claims and hopes from social and aesthetic reality, this book offers both essential background material and a fascinating narrative that will in itself be a subject of controversy.

The history of British architecture since 1930 has been one of frequently heated controversy between the old idiom and the new and between various social and technological viewpoints. The battle is by no means over; indeed it is spreading to wider issues and outside what was previously a largely professional sphere. A book like this one, which spells out the issues and describes how they arose, is therefore of interest not only to architects and students of architecture but to the growing general public concerned about the man-made environment.

Professor Jackson looks at the buildings of the period as the products of peculiar sets of circumstances, as works of art and in terms of what their designers were trying to achieve. And since there is much worth studying in the critical zone that separates architectural claims and hopes from social and aesthetic reality, this book offers both essential background material and a fascinating narrative that will in itself be a subject of controversy.