Ronald Hayman – författare

Originally published in 1970, this account of Tolstoy’s achievement as a novelist concentrates on the best known of his works, in particular the two masterpieces Anna Karenina and War and Peace. Extracts are, however, taken from all the major novels and are arranged chronologically to demonstrate the development of his technique. The main part of the book is concerned with narrative method and analyses Tolstoy’s treatment of character, landscape and dialogue together with his use of satire and irony. The range of subject matter throughout the novels is then discussed. In this way, Tolstoy’s genius is seen to lie in his unique gift for penetrating deeply into the individual lives of his characters and at the same time embracing their actions within a complete framework of social and political life.

Originally published in 1970, this account of Tolstoy’s achievement as a novelist concentrates on the best known of his works, in particular the two masterpieces Anna Karenina and War and Peace. Extracts are, however, taken from all the major novels and are arranged chronologically to demonstrate the development of his technique. The main part of the book is concerned with narrative method and analyses Tolstoy’s treatment of character, landscape and dialogue together with his use of satire and irony. The range of subject matter throughout the novels is then discussed. In this way, Tolstoy’s genius is seen to lie in his unique gift for penetrating deeply into the individual lives of his characters and at the same time embracing their actions within a complete framework of social and political life.

Günter Grass is one of the writers who grew up in a Germany already in the grip of Nazism. None of them has found better ways than his of translating the sordid history of the movement into fiction; none has looked more critically at the ‘denazification’ and reconstruction of Germany. In this important study, originally published in 1985, Ronald Hayman scrutinizes Grass’s development and assesses his achievement. He finds that Grass’s more recent work does not fulfil the promise of the The Tin Drum and his other early novels. While this study focuses mainly on the fiction, it also takes into account the poetry, plays, political writing, criticism and graphic work. Grass is important not only as an exemplar of the guilt-laden German conscience but as one of the most ambitious and accomplished living fabulists.

Günter Grass is one of the writers who grew up in a Germany already in the grip of Nazism. None of them has found better ways than his of translating the sordid history of the movement into fiction; none has looked more critically at the ‘denazification’ and reconstruction of Germany. In this important study, originally published in 1985, Ronald Hayman scrutinizes Grass’s development and assesses his achievement. He finds that Grass’s more recent work does not fulfil the promise of the The Tin Drum and his other early novels. While this study focuses mainly on the fiction, it also takes into account the poetry, plays, political writing, criticism and graphic work. Grass is important not only as an exemplar of the guilt-laden German conscience but as one of the most ambitious and accomplished living fabulists.

Originally published in 1973, this book investigates the power and the pressures behind English theatre in the late 20th Century, analysing its structure and systems, and the way that money and motives flow through it. On the one hand there are the organisations: the big national companies, the West End managements, the regional repertory theatres, the ‘fringe’ groups, the trade unions, the Arts Council. On the other are the individuals: actors, directors, playwrights, agents, administrators. Ronald Hayman’s challenging book illuminates the conflicts and contradictions in the set-up. It is a mine of information about how theatres are run, how shows pay their way, and what happens when they don’t.

Originally published in 1973, this book investigates the power and the pressures behind English theatre in the late 20th Century, analysing its structure and systems, and the way that money and motives flow through it. On the one hand there are the organisations: the big national companies, the West End managements, the regional repertory theatres, the ‘fringe’ groups, the trade unions, the Arts Council. On the other are the individuals: actors, directors, playwrights, agents, administrators. Ronald Hayman’s challenging book illuminates the conflicts and contradictions in the set-up. It is a mine of information about how theatres are run, how shows pay their way, and what happens when they don’t.

Originally published in 1969, this was the first book of its kind: an attempt to describe the different approaches that the actor needs to make to different media – theatre, film and television – and to show how the art of acting, which never stops evolving had entered into a new phase of growth in the sixties. Ronald Hayman examines questions which are basic, but had often been ignored: What exactly goes on inside the actor’s mind while (s)he is preparing a part? How much do actors vary in their approach? Where does personality stop and technique begin? This wide-ranging study of the actor at work is based partly on what outstanding actors have said about their methods but chiefly on close analysis of actual performances in plays, films and on television. Laurence Olivier, Helene Weigel, Jeanne Moreau and many others are both examined in close-up and viewed in perspective against the giants of the past like Bernhardt and Salvini.

Originally published in 1969, this was the first book of its kind: an attempt to describe the different approaches that the actor needs to make to different media – theatre, film and television – and to show how the art of acting, which never stops evolving had entered into a new phase of growth in the sixties. Ronald Hayman examines questions which are basic, but had often been ignored: What exactly goes on inside the actor’s mind while (s)he is preparing a part? How much do actors vary in their approach? Where does personality stop and technique begin? This wide-ranging study of the actor at work is based partly on what outstanding actors have said about their methods but chiefly on close analysis of actual performances in plays, films and on television. Laurence Olivier, Helene Weigel, Jeanne Moreau and many others are both examined in close-up and viewed in perspective against the giants of the past like Bernhardt and Salvini.

The complete Series 1 and 2 of the BBC Radio sitcom about the ups and downs of a second-class writerOnce upon a time, there was a struggling writer named Woodhouse Carton, who tried to make his name as an author while simultaneously running his own creative writing class...Over 12 episodes, we follow the frustrated scribe''s fruitless search for fame and fortune as, supported by his long-suffering wife Gila and feckless sidekick Seamus, he tries to write the definitive biography of philosophical novelist Wolf Heinrich Graubart - or compose the hit song that will set him up for life.Travelling to Berlin in an attempt to get under the skin of his subject, Woodhouse is confused with contradictory accounts - and confounded by extra expenses. Desperate to make big money, he tries his hand at children''s fiction, pens an oratorio, gets a new agent and searches for a patron. With a baby on the way, willl he manage to turn his fortunes around and find success at last?Scripted by award-winning biographer and dramatist Ronald Hayman, this superbly written literary sitcom stars Tim Pigott-Smith as Woodhouse, Zoë Wanamaker as Gila and Stephen Rea as Seamus, with a distinguished cast including Miriam Karlin, Sheila Hancock and Celia Imrie.Written by Ronald HaymanDirected by Piers Plowright and Paul SchlesingerMusic by Elizabeth Parker of the BBC Radiophonic WorkshopGuitar: Patrice ChevalierCastWoodhouse - Tim Pigott-SmithGila/Monie - Zoë WanamakerSeamus - Stephen ReaWilhelmina/Jutta/Heidi - Susie BrannHarietta Masterson/Samantha/Hildegarde/Hedwig/Muriel - Miriam KarlinHamish McVomitory/Professor Trinklekopf/Blind man/Graubart/Dr Vongalis/Harris - Bill WallisGila''s Dad/Colonel/Cedric - Benjamin WhitrowGila''s Mum - Joan Matheson/Maxine AudleyPachmann - John MoffattCissie Soskins - Eva StuartFrau Graubart - Eva Stuart/Maxine AudleyGirl in the street/Sasha/Charlotte aged 17 - Susan SheridanMark Grimshaw - Geoffrey WhiteheadMrs Mellon - Sheila HancockPenelope Pomeroy - Celia ImrieMary Jane/Fenella - Maxine AudleyUlrike - Tara DominickMarli Lillene/Jayston - Nickolas GraceGriselda - Victoria CarlingMacGillycuddy - James GreenBongo/Bunty/Tommy/Groom/Dollamore/Benjy - Ronald HerdmanAlun - Timothy BatesonCraggs/Breuster/Hotchkiss - James SimmonsDorothy - Petra MarkhamJasper - Timothy CarltonWith Eva Stuart, Susan Sheridan and Shaun Prendergast as Creative Writing Class membersFirst broadcast BBC Radio 3, 16-21 September 1989 (Series 1), 21-27 December 1991 (Series 2)CreditsPublished by Penguin Random House LtdLicensed by BBC Studios Distribution Ltd? 2021 BBC Studios Distribution Ltd© 2021 BBC Studios Distribution Ltd. ? 2021 BBC Studios Distribution Ltd

''God is dead'', announced Nietzsche - before going on to abolish himself.Envious contemporaries of Nietzsche ridiculed him as a mad man - and yet they came closer than they knew in characterising a philosopher in whose thought ambivalence approximated to disintegration of the self. While the nineteenth century''s coherent, consistent systems of certainty came crashing down ingloriously at the very first touch of the twentieth, Nietzsche''s discourses survived. He was more modern, it seemed, than the moderns. In this stimulating and provocative guide, Hayman reveals how Nietzsche''s work is more contemporary and relevant than ever in a new postmodern age.