Ian Carruthers – författare

Suzuki is Japan's best-known director. He has been internationally acclaimed for his postmodern adaptations of classics by Nanboku, Euripides, Shakespeare and Chekhov since the 1970s, including The Trojan Women, King Lear and Three Sisters and, equally, for his powerful actor training system, which combines elements of Noh and Kabuki with Western realism. Inviting artists from around the world to perform at his Toga and Shizuoka International Festivals, Suzuki has fostered productive exchanges with Jean-Louis Barrault, Robert Wilson, Kanze Hisao, Ashikawa Yoko and numerous others. This 2004 book traces Suzuki's rise from Little Theatre director to international festival celebrity, links his unique Surrealist dramaturgy with his intercultural training system, and gives in-depth descriptions of his most acclaimed productions.

In this book, Leslie Small and Ian Carruthers examine in detail the potentials and limitations of user fees for financing irrigation operation and maintenance. Both authors have extensive field experience in irrigation in developing countries and have combined this experience with simple concepts of economics to examine possible institutional and financial reforms which would not simply ask farmers to pay for an inadequate irrigation service, but would create the potential for significant improvements in the quality of the service provided. The proposed elements of any such reform are discussed in depth - a system of user fees covering the recurrent costs of irrigation; a financially autonomous irrigation agency that can retain and use the fees to operate and maintain the irrigation facilities; and a macro policy environment that is not unduly skewed against the agricultural sector. Written in a style intended to convey economic perspectives and insights to non-economists, this book will be essential reading for all those concerned with the financing and performance of irrigation in developing countries.

Shakespeare has an astonishingly rich and varied performance tradition in Japan, stretching from the Westernizing and modernizing ferment of the nineteenth-century Meiji era to the postmodern performance culture. How has the tradition evolved? Where is it going? How is it to be accounted for in theatrical and cultural terms? What does it mean to perform Shakespeare in Japan? Such questions are raised in this 2001 book's introduction and pursued in fourteen essays on key aspects, moments and personalities in the performance tradition. These are followed by provocative interviews with four leading directors (Deguchi Norio, Ninagawa Yukio, Suzuki Tadashi and Noda Hideki) and with one leading performer (Hira Mikijiro). Unlike the very few existing books on Japanese Shakespeare, this book concentrates on modern and postmodern theatre, from c.1970, and contains contributions from both Japanese and Western scholars and theatre practitioners.

In this book, Leslie Small and Ian Carruthers examine in detail the potentials and limitations of user fees for financing irrigation operation and maintenance. Both authors have extensive field experience in irrigation in developing countries and have combined this experience with simple concepts of economics to examine possible institutional and financial reforms which would not simply ask farmers to pay for an inadequate irrigation service, but would create the potential for significant improvements in the quality of the service provided. The proposed elements of any such reform are discussed in depth - a system of user fees covering the recurrent costs of irrigation; a financially autonomous irrigation agency that can retain and use the fees to operate and maintain the irrigation facilities; and a macro policy environment that is not unduly skewed against the agricultural sector. Written in a style intended to convey economic perspectives and insights to non-economists, this book will be essential reading for all those concerned with the financing and performance of irrigation in developing countries.

This is a revised and expanded edition of a popular textbook on the economics of farm households in developing countries. The second edition retains the same building blocks designed to explore household decision-making in a social context. Key topics are efficiency, risk, time allocation, gender, agrarian contracts, farm size and technological change. For these and other topics, household economic behaviour represents the outcome of social interactions within the household, and market interactions outside the household. A new chapter on the environment combines exposition of economic tools not previously covered in the book with examination of household and community decision-making in relation to environmental resources.

Suzuki is Japan's best-known director. He has been internationally acclaimed for his postmodern adaptations of classics by Nanboku, Euripides, Shakespeare and Chekhov since the 1970s, including The Trojan Women, King Lear and Three Sisters and, equally, for his powerful actor training system, which combines elements of Noh and Kabuki with Western realism. Inviting artists from around the world to perform at his Toga and Shizuoka International Festivals, Suzuki has fostered productive exchanges with Jean-Louis Barrault, Robert Wilson, Kanze Hisao, Ashikawa Yoko and numerous others. This 2004 book traces Suzuki's rise from Little Theatre director to international festival celebrity, links his unique Surrealist dramaturgy with his intercultural training system, and gives in-depth descriptions of his most acclaimed productions.

Shakespeare has an astonishingly rich and varied performance tradition in Japan, stretching from the Westernizing and modernizing ferment of the nineteenth-century Meiji era to the postmodern performance culture. How has the tradition evolved? Where is it going? How is it to be accounted for in theatrical and cultural terms? What does it mean to perform Shakespeare in Japan? Such questions are raised in this 2001 book's introduction and pursued in fourteen essays on key aspects, moments and personalities in the performance tradition. These are followed by provocative interviews with four leading directors (Deguchi Norio, Ninagawa Yukio, Suzuki Tadashi and Noda Hideki) and with one leading performer (Hira Mikijiro). Unlike the very few existing books on Japanese Shakespeare, this book concentrates on modern and postmodern theatre, from c.1970, and contains contributions from both Japanese and Western scholars and theatre practitioners.