Michael Balfour – författare

What did it mean for Germany, and the world, to have William II on the throne for the First World War? In The Kaiser and His Times, Michael Balfour analyzes the social, constitutional, and economic forces at work in imperial Germany, and sets the complex and disputed character of the Kaiser, who occupied such a central position in the three decades before 1918, in the context of his family background and the history of Germany.

This is the first book in English to give a comprehensive account of how soldiers, officials, Christians and workers in Germany fought together to frustrate Hitler's aims.

In Germany - The Tides of Power, Michael Balfour sets out to explain the factors which have shaped the German social, political and economic character. Tracing the movement of power from the Middle Ages onwards, he seeks to lead the reader to an understanding of modern Germany - why Germany precipitated, and lost, two major wars this century; how the astonishing growth of wealth over the last half-century was achieved; the meaning behind the recent unification of Germany. As German economic expansion continues into the 1990's, Professor Balfour discusses the power held by this technologically advanced nation - and considers the acceptance of this power by the rest of the world.

In Germany - The Tides of Power, Michael Balfour sets out to explain the factors which have shaped the German social, political and economic character. Tracing the movement of power from the Middle Ages onwards, he seeks to lead the reader to an understanding of modern Germany - why Germany precipitated, and lost, two major wars this century; how the astonishing growth of wealth over the last half-century was achieved; the meaning behind the recent unification of Germany. As German economic expansion continues into the 1990's, Professor Balfour discusses the power held by this technologically advanced nation - and considers the acceptance of this power by the rest of the world.

This is the first book in English to give a comprehensive account of how soldiers, officials, Christians and workers in Germany fought together to frustrate Hitler's aims.

This was the first book to deal with both British and German propaganda during the Second World War, both as regards to what was said at home and what was said to the enemy. The author was well qualified for the task. Michael Balfour first worked in that part of the Ministry of Information which handled publicity on the home front. In 1942 he moved to the Political War Executive which directed propaganda to the enemy and enemy-occupied countries. His job there involved him in closely following German propaganda.Many colourful characters, some of a very dubious mien, feature in these pages: Brendan Bracken, Richard Crossman, Sefton Delmer, Lord Haw-Haw and Hans Fritzsche. His handling of Goebbels is especially interesting, departing considerably from the usual stereotype. The second part of the book is a detailed analysis of the way the war news was handled on both sides: a curious set of distorted mirror-images of the main events emerges from the narrative. With his unique knowledge of the subject Michael Balfour was able to write an immensely impressive and stimulating book.

After all the endeavours that combined to make Britain the first great industrial nation, that dominant position was then relinquished. Joseph Chamberlain (1836-1914), the driven and self-made Birmingham businessman who shifted his energies formidably into politics, might have appeared to be one leader well equipped to help Britain stay competitive in the global race for economic growth. But, as Michael Balfour suggests in this absorbing study, Chamberlain's personality and temperament were not suited to the challenge.Determined always to have his way, animated by 'the business man's love of getting things done', Chamberlain lacked the gift of persuasion and made enemies too well, it being his unique achievement to split both major parties in the space of twenty years. Had it been possible for one man to arrest Britain's slackening growth then that man, Balfour contends, was not the erstwhile 'Radical Joe.'

What were the consequences for Germany, and the world, that William II was Kaiser at the onset of the 'Great War'? In The Kaiser and His Times (first published in 1964), Michael Balfour analyzes the social, constitutional, and economic forces at work in imperial Germany, and sets the complex and disputed character of the Kaiser, who occupied such a central position in the three decades before 1918, in the context of his family background and the history of Germany.'[Balfour] has borne in mind the Kaiser's own request to the head of his military Secretariat - 'Not dry reports only, please, but now and then a funny story.' The circumstances that allowed to Kaiser to live as if 'The greater part of his life... was illusion' would make comic reading if the results had not been so tragic...' Kirkus Review

The Adversaries (1981) examines the post-war world that both the US and the Soviet Union tried to mould in their own images. Their faith in their respective systems came at the cost of a political, economic and military clashing in various parts of the world, an antagonism that rendered the United Nations ineffective as an organ of world government. This book analyses these clashes, as the foreign policy decisions of both superpowers had wide-ranging effects over large portions of the globe.

The Adversaries (1981) examines the post-war world that both the US and the Soviet Union tried to mould in their own images. Their faith in their respective systems came at the cost of a political, economic and military clashing in various parts of the world, an antagonism that rendered the United Nations ineffective as an organ of world government. This book analyses these clashes, as the foreign policy decisions of both superpowers had wide-ranging effects over large portions of the globe.

First Published in 1982 West Germany presents a new approach to the study of contemporary Germany. The past history of the country is used to explain its present state, since the roots of many of the events of this century can be found as far back as the Middle Ages. In order to understand Germany’s relative backwardness in the nineteenth century, it is vital to have some conception of her medieval history, and likewise the descriptions of the constitutions of 1871 and 1919 help to explain why the Basic Law of 1949 took the form it did. The form the book takes is slightly unusual, in that the amount of space devoted to an epoch increases as the present-day approaches, but this is consistent with the aim of the book. This is an important historical document for scholars and researchers of German history and European history.

First Published in 1982 West Germany presents a new approach to the study of contemporary Germany. The past history of the country is used to explain its present state, since the roots of many of the events of this century can be found as far back as the Middle Ages. In order to understand Germany’s relative backwardness in the nineteenth century, it is vital to have some conception of her medieval history, and likewise the descriptions of the constitutions of 1871 and 1919 help to explain why the Basic Law of 1949 took the form it did. The form the book takes is slightly unusual, in that the amount of space devoted to an epoch increases as the present-day approaches, but this is consistent with the aim of the book. This is an important historical document for scholars and researchers of German history and European history.

First Published in 1985 Britain and Joseph Chamberlain is not simply the first biography of Joseph Chamberlain to be written from a radical standpoint but also an exercise in ‘counter -history’. What difference might it have made if Ireland had been set on the road to self-government in 1886, if the reforms of the 1906 Liberal Government had been enacted before 1890 and if it had fallen to a government of the left to handle the Boers? All these possibilities were ruled out when Chamberlain, in a fit of personal animosity, broke with Gladstone over Home Rule. He probably also thereby removed the last chance of the Labour Party growing out of the Liberal Party instead of competing with it for progressive votes, and so facilitating the Conservative domination of politics between 1922-1940. Professor Balfour on the other hand does not believe that, even if Chamberlain had remained a radical and become Prime Minister, he would have been able to arrest Britain’s slackening growth. This book is an important historical document for scholars of British history.

First Published in 1985 Britain and Joseph Chamberlain is not simply the first biography of Joseph Chamberlain to be written from a radical standpoint but also an exercise in ‘counter -history’. What difference might it have made if Ireland had been set on the road to self-government in 1886, if the reforms of the 1906 Liberal Government had been enacted before 1890 and if it had fallen to a government of the left to handle the Boers? All these possibilities were ruled out when Chamberlain, in a fit of personal animosity, broke with Gladstone over Home Rule. He probably also thereby removed the last chance of the Labour Party growing out of the Liberal Party instead of competing with it for progressive votes, and so facilitating the Conservative domination of politics between 1922-1940. Professor Balfour on the other hand does not believe that, even if Chamberlain had remained a radical and become Prime Minister, he would have been able to arrest Britain’s slackening growth. This book is an important historical document for scholars of British history.

Applied Theatre: Women and the Criminal Justice System offers unprecedented access to international theatre and performance practice in carceral contexts and the material and political conditions that shape this work. Each of the twelve essays and interviews by international practitioners and scholars reveal a panoply of practice: from cross-arts projects shaped by autobiographical narratives through to fantasy-informed cabaret; from radio plays to film; from popular participatory performance to work staged in commercial theatres. Extracts of performance texts, developed with Clean Break theatre company, are interwoven through the collection.Television and film images of women in prison are repeatedly painted from a limited palette of stereotypes – ‘bad girls’, ‘monsters’, ‘babes behind bars’. To attend to theatre with and about women with experience of the criminal justice system is to attend to intersectional injustices that shape women’s criminalization and the personal and political implications of this. The theatre and performance practices in this collection disrupt, expand and reframe representational vocabularies of criminalized women for audiences within and beyond prison walls. They expose the role of incarceration as a mechanism of state punishment, the impact of neoliberalism on ideologies of punishment and the inequalities and violence that shape the lives of many incarcerated women. In a context where criminalized women are often dismissed as unreliable or untrustworthy, the collection engages with theatre practices which facilitate an economy of credibility, where women with experience of the criminal justice system are represented as expert witnesses.

Applied Theatre: Research is the first book to consolidate thinking about applied theatre as research through a thorough investigation of ATAR as a research methodology. It will be an indispensable resource for teachers and researchers in the area.The first section of the book details the history of the relationship between applied theatre and research, especially in the area of evaluation and impact assessment, and offering an examination of the literature surrounding applied theatre and research. The book then explores how applied theatre as research (ATAR) works as a democratic and pro-social adjunct to community based research and explains its complex relationship to arts informed inquiry, Indigenous research methods and other research epistemologies. The book provides a rationale for this approach focusing on its capacity for reciprocity within communities. The second part of the book provides a series of international case studies of effective practice which detail some of the key approaches in the method and based on work conducted in Australia, New Zealand, Singapore and the South Pacific. The case studies provide a range of cultural contexts for the playing out of various forms of ATAR, and a concluding chapter considers the tensions and the possibilities inherent in ATAR.This is a groundbreaking book for all researchers who are working with communities who require a method that moves beyond current research practice.

Applied Theatre: Research is the first book to consolidate thinking about applied theatre as research through a thorough investigation of ATAR as a research methodology. It will be an indispensable resource for teachers and researchers in the area.The first section of the book details the history of the relationship between applied theatre and research, especially in the area of evaluation and impact assessment, and offering an examination of the literature surrounding applied theatre and research. The book then explores how applied theatre as research (ATAR) works as a democratic and pro-social adjunct to community based research and explains its complex relationship to arts informed inquiry, Indigenous research methods and other research epistemologies. The book provides a rationale for this approach focusing on its capacity for reciprocity within communities. The second part of the book provides a series of international case studies of effective practice which detail some of the key approaches in the method and based on work conducted in Australia, New Zealand, Singapore and the South Pacific. The case studies provide a range of cultural contexts for the playing out of various forms of ATAR, and a concluding chapter considers the tensions and the possibilities inherent in ATAR.This is a groundbreaking book for all researchers who are working with communities who require a method that moves beyond current research practice.

The book offers a compelling combination of analyis and detailed description of aesthetic projects with young refugee arrivals in Australia. In it the authors present a framework that contextualises the intersections of refugee studies, resilience and trauma, and theatre and arts-based practice, setting out a context for understanding and valuing the complexity of drama in this growing area of applied theatre. Applied Theatre: Resettlement includes rich analysis of three aesthetic case studies in Primary, Secondary and Further Education contexts with young refugees. The case studies provide a unique insight into the different age specific needs of newly arrived young people. The authors detail how each group and educational context shaped diverse drama and aesthetic responses: the Primary school case study uses process drama as a method to enhance language acquisition and develop intercultural literacy; the Secondary school project focuses on Forum Theatre and peer teaching with young people as a means of enhancing language confidence and creating opportunities for cultural competency in the school community, and the further education case study explores work with unaccompanied minors and employs integrated multi art forms (poetry, art, drama, digital arts, clay sculptures and voice work) to increase confidence in language acquisition and explore different forms of expression and communication about the transition process. Through its careful framing of practice to speak to concerns of power, process, representation and ethics, the authors ensure the studies have an international relevance beyond their immediate context. Drama, Refugees and Resilience contributes to new professional knowledge building in the fields of applied theatre and refugee studies about the efficacy of drama practice in enhancing language acquisition, cultural settlement and pedagogy with newly arrived refugee young people.

The book offers a compelling combination of analyis and detailed description of aesthetic projects with young refugee arrivals in Australia. In it the authors present a framework that contextualises the intersections of refugee studies, resilience and trauma, and theatre and arts-based practice, setting out a context for understanding and valuing the complexity of drama in this growing area of applied theatre. Applied Theatre: Resettlement includes rich analysis of three aesthetic case studies in Primary, Secondary and Further Education contexts with young refugees. The case studies provide a unique insight into the different age specific needs of newly arrived young people. The authors detail how each group and educational context shaped diverse drama and aesthetic responses: the Primary school case study uses process drama as a method to enhance language acquisition and develop intercultural literacy; the Secondary school project focuses on Forum Theatre and peer teaching with young people as a means of enhancing language confidence and creating opportunities for cultural competency in the school community, and the further education case study explores work with unaccompanied minors and employs integrated multi art forms (poetry, art, drama, digital arts, clay sculptures and voice work) to increase confidence in language acquisition and explore different forms of expression and communication about the transition process. Through its careful framing of practice to speak to concerns of power, process, representation and ethics, the authors ensure the studies have an international relevance beyond their immediate context. Drama, Refugees and Resilience contributes to new professional knowledge building in the fields of applied theatre and refugee studies about the efficacy of drama practice in enhancing language acquisition, cultural settlement and pedagogy with newly arrived refugee young people.

Applied Theatre: Facilitation is the first publication that directly explores the facilitator’s role within a range of socially engaged theatre and community theatre settings. The book offers a new theoretical framework for understanding critical facilitation in contemporary dilemmatic spaces and features a range of writings and provocations by international practitioners and experienced facilitators working in the field.Part One offers an introduction to the concept, role and practice of facilitation and its applications in different contexts and cultural locations. It offers a conceptual framework through which to understand the idea of critical facilitation: a political practice that that involves a critical (and self-critical) approach to pedagogies, practices (doing and performing), and resilience in dilemmatic spaces. Part Two illuminates the diversity in the field of facilitation in applied theatre through offering multiple voices, case studies, theoretical positions and contexts. These are drawn from Australia, Serbia, Kyrgyzstan, India, Israel/Palestine, Rwanda, the United Kingdom and North America, and they apply a range of aesthetic forms: performance, process drama, forum, clowning and playmaking. Each chapter presents the challenge of facilitation in a range of cultural contexts with communities whose complex histories and experiences have led them to be disenfranchised socially, culturally and/or economically.

Applied Theatre: Facilitation is the first publication that directly explores the facilitator’s role within a range of socially engaged theatre and community theatre settings. The book offers a new theoretical framework for understanding critical facilitation in contemporary dilemmatic spaces and features a range of writings and provocations by international practitioners and experienced facilitators working in the field.Part One offers an introduction to the concept, role and practice of facilitation and its applications in different contexts and cultural locations. It offers a conceptual framework through which to understand the idea of critical facilitation: a political practice that that involves a critical (and self-critical) approach to pedagogies, practices (doing and performing), and resilience in dilemmatic spaces. Part Two illuminates the diversity in the field of facilitation in applied theatre through offering multiple voices, case studies, theoretical positions and contexts. These are drawn from Australia, Serbia, Kyrgyzstan, India, Israel/Palestine, Rwanda, the United Kingdom and North America, and they apply a range of aesthetic forms: performance, process drama, forum, clowning and playmaking. Each chapter presents the challenge of facilitation in a range of cultural contexts with communities whose complex histories and experiences have led them to be disenfranchised socially, culturally and/or economically.

Applied Theatre: Creative Ageing examines the complex social, political and cultural needs of a diverse group in our society and asks how contemporary applied theatre responds to those needs. It allows an examination of innovative national and international practice in applied theatre that responds to the needs of older adults to encourage outcomes such as wellbeing and social inclusion. The book does this while also questioning how we, as a society, wish to respond to the complex needs of older adults and the process of ageing and how applied theatre practices can help us do so in a way that is both positive and inclusive. In Part One Sheila McCormick reviews and historicises the practice of applied theatre with, for and by the elderly. It argues that pioneering applied theatre strategies are vital if the creative practice is to respond to the growing needs of older members of society, and reflects on particular cultural responses to ageing and the elderly.The second part of the book is made up of essays and case studies from leading experts and practitioners from Britain, America and Australia, including consideration of applied theatre approaches to dementia, health, wellbeing, social inclusion and Alzheimer's disease.

Applied Theatre: Women and the Criminal Justice System offers unprecedented access to international theatre and performance practice in carceral contexts and the material and political conditions that shape this work. Each of the twelve essays and interviews by international practitioners and scholars reveal a panoply of practice: from cross-arts projects shaped by autobiographical narratives through to fantasy-informed cabaret; from radio plays to film; from popular participatory performance to work staged in commercial theatres. Extracts of performance texts, developed with Clean Break theatre company, are interwoven through the collection.Television and film images of women in prison are repeatedly painted from a limited palette of stereotypes – ‘bad girls’, ‘monsters’, ‘babes behind bars’. To attend to theatre with and about women with experience of the criminal justice system is to attend to intersectional injustices that shape women’s criminalization and the personal and political implications of this. The theatre and performance practices in this collection disrupt, expand and reframe representational vocabularies of criminalized women for audiences within and beyond prison walls. They expose the role of incarceration as a mechanism of state punishment, the impact of neoliberalism on ideologies of punishment and the inequalities and violence that shape the lives of many incarcerated women. In a context where criminalized women are often dismissed as unreliable or untrustworthy, the collection engages with theatre practices which facilitate an economy of credibility, where women with experience of the criminal justice system are represented as expert witnesses.

On an April evening in 1934, on the River Arno in Florence, an air squadron, an infantry, a cavalry brigade, fifty trucks, four field and machine gun batteries, ten field radio stations, and six photoelectric units presented a piece of theatre. The mass spectacle, 18 BL involved over two thousand amateur actors and was performed before an audience of twenty thousand.18 BL is one of eleven extraordinary essays collected together for the first time. The essays have been selected and edited from a wide range of publications dating from the 1940s to the 1990s. The authors are academics, cultural historians, and theatre practitioners - some with direct experience of the harsh conditions of Europe during the war. Each author critically assesses the function of theatre in times of world crisis, exploring themes of Fascist aesthetic propaganda in Italy and Germany, of theatre re-education programmes in the Gulags of Russia, of cultural "sustenance" for the troops at the front and interned German refugees in the UK, or cabaret shows as a currency for survival in Jewish concentration camps.

On an April evening in 1934, on the River Arno in Florence, an air squadron, an infantry, a cavalry brigade, fifty trucks, four field and machine gun batteries, ten field radio stations, and six photoelectric units presented a piece of theatre. The mass spectacle, 18 BL involved over two thousand amateur actors and was performed before an audience of twenty thousand.18 BL is one of eleven extraordinary essays collected together for the first time. The essays have been selected and edited from a wide range of publications dating from the 1940s to the 1990s. The authors are academics, cultural historians, and theatre practitioners - some with direct experience of the harsh conditions of Europe during the war. Each author critically assesses the function of theatre in times of world crisis, exploring themes of Fascist aesthetic propaganda in Italy and Germany, of theatre re-education programmes in the Gulags of Russia, of cultural "sustenance" for the troops at the front and interned German refugees in the UK, or cabaret shows as a currency for survival in Jewish concentration camps.

Across the world, performing arts programmes are increasing in number, scope and professionalism. They attract increasing academic and media attention. Theoretical and applied research, organizational evaluation reports, documentary films and journalism are detailing prison arts and creating recognition that this body of work is becoming a valued part of the correctional enterprise. There is a growing body of evidence that suggests music, theatre, poetry and dance can contribute to prisoner wellbeing, management, rehabilitation and reintegration. Performing Arts in Prisons: Creative Perspectives explores prison arts in Australia, the United States, the United Kingdom and Chile, and creates a new framework for understanding its practices.

From role-plays with street gangs in the USA to Beckett in Brixton; from opera productions with sex offenders to psychodrama with psychopaths, the book will discuss, analyse and reflect on theoretical notions and practical applications of theatre for and with the incarcerated.Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice – problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.

The title of this book, Refugee Performance, suggests there is a constituency of practices that might be unified under a definite term or god forbid to propose a new field of study. This is far from the intentions of the collection. This collection has grown out of an interest in performance and theatre in sites of war and the impact of conflict on diasporic communities. The chapters represent stories from a range of countries and war contexts, including Iraq, Thailand, Burma, Uganda, Palestine, Croatia, Serbia, Australia, the United Kingdom and the United States of America.