David Barnett – författare

'A brooding tale from the murky depths below the English idyll. Coastal-horror at its finest' Matt WesolowskiThe sea never forgets. The sea never forgivesScuttler's Cove is a working village, nestling in dramatic coastal scenery in Cornwall, where life has gone on uninterrupted for centuries until this seaside idyll was discovered by the rich.Now the quaint harbour-front cottages have been snapped up by second-homers and rental companies, and the locals can barely afford to live in their own town.It is a very different place for Merrin Moon, who left for university at the age of eighteen and never looked back. Now in her thirties, she returns to the Cove for the first time since, after the death of her mother.She soon discovers that there are forces at play in the village that she could never have imagined. Is someone trying to drive out the second homers? And has their arrival started a chain of events none of them will be able to stop?For something old and terrible is awakening beneath the town's hallowed ground. And with it comes a horror that the residents have fought for generations to keep a secret.A dark and mysterious folk horror of the sea, and a timely exploration of the displacement of our modern moment, with a twist that will leave you reeling.Praise for Scuttler's Cove 'There's a rich vein of horror to be mined here, and Barnett's doing a great job of excavating it' SFX'An eerie tale of folk horror, as old gods and locals with age-old roots come into conflict with new money and the modern world, with a satisfying supernatural showdown, and a twist you won't see coming' Jane Johnson'Swarming spiders, vicious crabs, fish-headed revenants ... these are terrifying enough, but they're also the least scary things in Scuttler's Cove. It's the people you have to watch out for... a brutal, brilliant novel of folk horror and dread' Tim Lebbon'It feels like a modern version of The Wicker Man, in the best possible way and with its own unique take' Reader review'Wow, just wow. David Barnett is my new go-to for folk horror' Reader review'Filled with great characters, a downright creepy unsettling narrative, and surprises in store which you won't see coming, this is a must-read folk horror novel' Reader review'Very well-written. Dark, compelling and atmospheric' Reader review'Folk horror at its finest leads to an intensely satisfying and fantastic ending that will have you actually cheering' Reader review'Another gem! Scuttler's Cove takes you on a wild ride of mystery, intrigue, and horrific folklore' Reader review'The bright, beachy atmosphere with a looming undercurrent of something dark and sinister kept the tension high I found myself itching to read more when I wasn't actively reading it' Reader review'I came for the crab on the cover, stayed for the folk horror a timely and atmospheric horror novel' Reader review

This volume surveys and assesses the contributions of Vsevolod Meyerhold, Erwin Piscator and Bertolt Brecht to theatre-making, which richly exemplify the range of ways that directors address dramatic material, theatrical space and their audiences. Their directorial work marks an unmistakeable interest in developing the political potential of theatre in the early 20th century, although each director offered more to their actors, collaborators and spectators than simply the staging of politics and the political.

"The joy of Regened is that it’s a proper all-ages thing, something for young and old" - Comicon.com**{::}2000 AD*'s all ages science fiction anthology series returns with a fourth thrill-powered collection of epic, action packed stories featuring all of your favourite characters and a brand new, exclusive *Harlem Heroes strip! Cadet Dredd goes undercover as a renegade runaway! It's the Harlem Heroes versus the Harlem Hellcats in the most dangerous - and deadly - aeroball game Mega-City One's ever seen! Does Chopper have what it takes to evade the Judges and win the Sky Surfing competition? Travel to other dimensions with Jaina and Jacen in 'Splorers! It's the Galaxy's best and brightest all-ages comic - it's 2000 AD Regened!

‘An agile and compelling storyteller’ NICK CUTTERThis could be the end of everything.The remote village of Withered Hill harbours dark secrets. Outsiders are not welcome, but a film crew descends. Their producer Rob claims they intend to make a low-budget horror movie: Twisted Pike. In truth, the cameras are a front for something infinitely more sinister.They haven't come to capture fictional nightmares. They have come to raze Withered Hill to the ground – and obliterate everyone who calls it home.Will Rob succeed in wiping out the place that took so much from him? Are there forces at work beyond the reach of human vengeance?If Withered Hill falls, the ancient gods sleeping beneath the soil will finally awaken. And their wrath won't stop at the village borders.Return to the Withered Hill universe with this unsettling folk horror of apocalyptic proportions.Praise for David Barnett‘There’s a rich vein of horror to be mined here, and Barnett’s doing a great job of excavating it.’ SFX‘An eerie tale of folk horror, as old gods and locals with age-old roots come into conflict … a twist you won’t see coming.’ Jane Johnson‘A brutal, brilliant novel of folk horror and dread.’ Tim Lebbon‘Slowly builds a picture of a town complicit in some terrible things. Really loved this one!’ Sarah Pinborough‘Eerie, erotic and engrossing … shall henceforth be mentioned in the same breath as The Wicker Man.’ Kealan Patrick Burke‘A bloody masterpiece Black Mirror meets The Wicker Man.’ Mark Stay‘Midsommar, Evil Dead and Stepford Wives all in one, this twisted dark fairytale rooted in the modern world.’ Lisa Rookes‘Beguiling, bewitching and brilliant.’ Jeremy Dyson‘Twisted Pike has the exact kind of malice I want from folk horror. Mud, gods, consequences and the creeping suspicion that modernity is only a thin layer of paint.’ Reader Review‘Barnett weaves a subtly creepy tale that builds satisfyingly.’ Reader Review‘Another must-red folk horror novel by David Barnett.’ Reader Review‘Twisted Pike had me hooked! This was such a dark, creepy and unsettling read, with the kind of atmosphere that makes you feel like something is seriously wrong, even when you can’t quite put your finger on what it is. Dark, suspenseful, disturbing and completely addictive.’ Reader Review‘This is folk horror at its finest!’ Reader Review

Using extensive and untapped archival material as well as a series of in-depth interviews with Fassbinder's main theatre associates, this book offers commentary on and insights into Fassbinder's plays, his dramaturgies and staging practice. David Barnett helps to unlock the much discussed theatricality of Fassbinder's films by showing its many concrete sources. The first study of Fassbinder's work in the theatre, as a playwright and director, this book gives a full contextualisation of his work within the upheavals of its times. Readers are introduced to the cultural history of the West German theatre in the late 1960s and early 1970s. Radicalism in society meets experiment on stage as Fassbinder emerges from the cellar theatre scene of Munich, co-founds the antiteater and is then integrated into the most subsidised theatre in Europe, before being offered his own theatre to run for one fateful season.

Using extensive and untapped archival material as well as a series of in-depth interviews with Fassbinder's main theatre associates, this book offers commentary on and insights into Fassbinder's plays, his dramaturgies and staging practice. David Barnett helps to unlock the much discussed theatricality of Fassbinder's films by showing its many concrete sources. The first study of Fassbinder's work in the theatre, as a playwright and director, this book gives a full contextualisation of his work within the upheavals of its times. Readers are introduced to the cultural history of the West German theatre in the late 1960s and early 1970s. Radicalism in society meets experiment on stage as Fassbinder emerges from the cellar theatre scene of Munich, co-founds the antiteater and is then integrated into the most subsidised theatre in Europe, before being offered his own theatre to run for one fateful season.

Nineteenth century London is the centre of a vast British Empire. Airships ply the skies and Queen Victoria presides over three-quarters of the known world - including the East Coast of America, following the failed revolution of 1775. London might as well be a world away from Sandsend, a tiny village on the Yorkshire coast. Gideon Smith dreams of the adventure promised him by the lurid tales of Captain Lucian Trigger, the Hero of the Empire, told in Gideon's favourite "penny dreadful." When Gideon's father is lost at sea in highly mysterious circumstances Gideon is convinced that supernatural forces are at work. Deciding only Captain Lucian Trigger himself can aid him, Gideon sets off for London. On the way he rescues the mysterious mechanical girl Maria from a tumbledown house of shadows and iniquities. Together they make for London, where Gideon finally meets Captain Trigger. But Trigger is little more than an aging fraud, providing cover for the covert activities of his lover, Dr. John Reed, a privateer and sometime agent of the British Crown. Looking for heroes but finding only frauds and crooks, it falls to Gideon to step up to the plate and attempt to save the day ...but can a humble fisherman really become the true Hero of the Empire?

The physical linkages responsible for carrying a company''s data continue to be the most neglected components of the typical network—to the extent that nearly 70% of all network-related problems result from poor cabling.

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Choosing the right cables and components for your network architecture and topology Avoiding unnecessary and unexpected costs Understanding the current limitations of data communications and network cabling Understanding how laws and building codes constrain cabling Understanding the function and importance of universal cabling standards Determining when you have a cabling-related network problem Assembling a complete cabling toolkit Integrating voice and data on the same cable system Setting up an infrastructure in which desktops, printers, copiers, and other nodes share cabling Understanding issues of bandwidth, impedance, resistance, attenuation, crosstalk, capacitance, propagation, delay, and delay skew Working effectively with USB and Firewire Knowing when to discard legacy cabling and begin anew Documenting your cabling Creating an RFP and selecting a vendor

The leading publication on Brecht, his work, and topics of interest to him; this annual volume documents the International Brecht Society's 2016 symposium, "Recycling Brecht."Published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory.Volume42 features a selection of the papers given and protocols of the events held at the International Brecht Society's "Recycling Brecht" symposium at St. Hugh's College, Oxford, in June 2016. The theme of recycling is understood bothas a description of Brecht's own creative practice and as an activity applied to his works by others. The volume includes keynote papers by Hans-Thies Lehmann and Amal Allana on Brecht's reception of Antigone and on the reception and recycling of Brecht in India, respectively. Other papers are on a wide range of topics, from Brecht's own "recycling" of Shakespeare and others, through the reception of his own works in a range of contexts and by later writers, to contemporary works that may be understood as post-Brechtian. The final section, introduced by an extended interview with American playwright Tony Kushner, documents additional creative responses to the theme.Volume co-editors Tom Kuhn and David Barnett are, respectively, Professor of Twentieth-Century German Literature at the University of Oxford and Professor of Theatre at the University of York. Managing Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

This Element proposes a novel way of defining, understanding and approaching theatricality, a term that exists both in the theatre and, more broadly, in everyday life. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms. Each of the four sections defines a different theatrical process, explores its functions in two chosen playtexts and examines its implications for the wider experience of the spectators outside the theatre. The Element concludes with a supplementary reflection on performance to show how even seemingly untheatrical playtexts can be analysed and staged to reveal their unspoken theatricality. It also argues that this new understanding of theatricality has a politics, that the artifice of any theatre and the constructedness of any society are analogous and that both, consequently, can be fundamentally changed. This Element is also available as Open Access on Cambridge Core.

This Element proposes a novel way of defining, understanding and approaching theatricality, a term that exists both in the theatre and, more broadly, in everyday life. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms. Each of the four sections defines a different theatrical process, explores its functions in two chosen playtexts and examines its implications for the wider experience of the spectators outside the theatre. The Element concludes with a supplementary reflection on performance to show how even seemingly untheatrical playtexts can be analysed and staged to reveal their unspoken theatricality. It also argues that this new understanding of theatricality has a politics, that the artifice of any theatre and the constructedness of any society are analogous and that both, consequently, can be fundamentally changed. This Element is also available as Open Access on Cambridge Core.

The Berliner Ensemble was founded by Bertolt Brecht and his wife Helene Weigel in 1949. The company soon gained international prominence, and its productions and philosophy influenced the work of theatre-makers around the world. David Barnett's book is the first study of the company in any language. Based on extensive archival research, it uncovers Brecht's working methods and those of the company's most important directors after his death. The book considers the boon and burden of Brecht's legacy, and provides new insights into battles waged behind the scenes for the preservation of the Brechtian tradition. The Berliner Ensemble was also the German Democratic Republic's most prestigious cultural export, attracting attention from the highest circles of government, and from the Stasi, before it privatised itself after German reunification in 1990. Barnett pieces together a complex history that sheds light on both the company's groundbreaking productions and their turbulent times.

The Berliner Ensemble was founded by Bertolt Brecht and his wife Helene Weigel in 1949. The company soon gained international prominence, and its productions and philosophy influenced the work of theatre-makers around the world. David Barnett's book is the first study of the company in any language. Based on extensive archival research, it uncovers Brecht's working methods and those of the company's most important directors after his death. The book considers the boon and burden of Brecht's legacy, and provides new insights into battles waged behind the scenes for the preservation of the Brechtian tradition. The Berliner Ensemble was also the German Democratic Republic's most prestigious cultural export, attracting attention from the highest circles of government, and from the Stasi, before it privatised itself after German reunification in 1990. Barnett pieces together a complex history that sheds light on both the company's groundbreaking productions and their turbulent times.

"I’m good Hamlet gi’me a cause for grief"At first glance, readers of The Hamletmachine (1979) could be forgiven for wondering whether it is actually a play at all: it opens with a montage of texts that are not ascribed to a character, there is no vestige of a plot, and the whole piece lasts a total of ten pages.Yet, Heiner Müller’s play regularly features in theatres’ repertoires and is frequently staged by university theatre departments. In four short chapters, David Barnett unpicks the complexities of The Hamletmachine’s writing and frames its author as an experimental, politically committed writer who confronts the shortcomings of his age. In considering the problems Müller poses for the play’s performance, he also discusses two exemplary productions in order to show how the work can engage very different audiences.This book examines why such a compact, radically open, and yet seemingly obscure play has proved so popular.

""I'm good Hamlet gi'me a cause for grief""At first glance, readers of The Hamletmachine (1979) could be forgiven for wondering whether it is actually a play at all: it opens with a montage of texts that are not ascribed to a character, there is no vestige of a plot, and the whole piece lasts a total of ten pages.Yet, Heiner Müller's play regularly features in theatres' repertoires and is frequently staged by university theatre departments. In four short chapters, David Barnett unpicks the complexities of The Hamletmachine's writing and frames its author as an experimental, politically committed writer who confronts the shortcomings of his age. In considering the problems Müller poses for the play's performance, he also discusses two exemplary productions in order to show how the work can engage very different audiences.This book examines why such a compact, radically open, and yet seemingly obscure play has proved so popular.

By 1800, London was regarded as the world's greatest city, at the centre of the world's greatest empire. London: Hub of the Industrial Revolution examines this and also explores how London was at the heart of the Industrial Revolution. Traditionally, historians have regard the city as a minor player in the Industrial Revolution but, in this book, David Barnett argues that the capital was at the forefront of industrial development, providing financial aid and essential services to other towns and cities.Based on original archival material, including insurance records and trade directories, this book paints a portrait of London during a period of rapid and unprecedented development as the world's first great modern industrial city.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht’s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre.What emerges is a nuanced understanding of Brecht’s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ‘make theatre politically’, in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber’s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht''s theories and practices. The book analyses how Brecht''s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of Brecht''s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ''make theatre politically'', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht''s ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber''s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht’s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre.What emerges is a nuanced understanding of Brecht’s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ‘make theatre politically’, in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber’s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht''s theories and practices. The book analyses how Brecht''s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of Brecht''s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ''make theatre politically'', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht''s ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber''s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.