Simon Murray – författare

This is the first book to investigate the social, political, cultural, artistic and economic forces which created conditions for the rise, success and decline of mime and physical theatre in the United Kingdom, from the 1970s to 2000.Unpicking the various routes through which mime and physical theatre emerged into wider prominence, this book outlines key thematic strands within this history of practice. The book blends historical description and refl ective analysis. It aims to juxtapose the various histories at play within this field, giving critical attention to the voices of the artists, funders and venue managers who were there at the time, particularly recognising the diversity of practitioners and the network of relationships that supported their work. Drawing upon over 40 original interviews, including, amongst others: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick, the book offers unique testimonies and memories from key figures active during these three decades. This wide-ranging account of the history, social context, key moments and practical methods gives an unparalleled chronicle of one of the UK’s most vital and pioneering forms of theatre.From undergraduate students to established scholars, this is a comprehensive account for anyone studying contemporary theatre, theatre history, mime, physical theatre and the structures that support the performing arts in the United Kingdom.

This is the first book to investigate the social, political, cultural, artistic and economic forces which created conditions for the rise, success and decline of mime and physical theatre in the United Kingdom, from the 1970s to 2000.Unpicking the various routes through which mime and physical theatre emerged into wider prominence, this book outlines key thematic strands within this history of practice. The book blends historical description and refl ective analysis. It aims to juxtapose the various histories at play within this field, giving critical attention to the voices of the artists, funders and venue managers who were there at the time, particularly recognising the diversity of practitioners and the network of relationships that supported their work. Drawing upon over 40 original interviews, including, amongst others: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick, the book offers unique testimonies and memories from key figures active during these three decades. This wide-ranging account of the history, social context, key moments and practical methods gives an unparalleled chronicle of one of the UK’s most vital and pioneering forms of theatre.From undergraduate students to established scholars, this is a comprehensive account for anyone studying contemporary theatre, theatre history, mime, physical theatre and the structures that support the performing arts in the United Kingdom.

Physical Theatres: A Critical Reader is an invaluable resource for students of physically orientated theatre and performance. This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides:six new, specially commissioned essays, covering each of the book’s main themes, from technical traditions to contemporary practisesdiscussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognitiona focus on the relationship and tensions between the verbal and the physical in theatrecontributions from Augusto Boal, Stephen Berkoff, Étienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.

Physical Theatres: A Critical Reader is an invaluable resource for students of physically orientated theatre and performance. This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides:six new, specially commissioned essays, covering each of the book’s main themes, from technical traditions to contemporary practisesdiscussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognitiona focus on the relationship and tensions between the verbal and the physical in theatrecontributions from Augusto Boal, Stephen Berkoff, Étienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated.Now reissued Jacques Lecoq is the first book to combine:an historical introduction to his life and the context in which he workedan analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatredetailed studies of the work of Theatre de Complicite and Mummenschanzpractical exercises demonstrating Lecoq's distinctive approach to actor training.

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated.Now reissued Jacques Lecoq is the first book to combine:an historical introduction to his life and the context in which he workedan analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatredetailed studies of the work of Theatre de Complicite and Mummenschanzpractical exercises demonstrating Lecoq's distinctive approach to actor training.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel examines the contemporary practice of companies such as Théatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance.New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel examines the contemporary practice of companies such as Théatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance.New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

'One of the greatest adventure stories in years.' – Chris Patten 'The drama, excitement and colour of a good guts-and-glory thriller.' – Dr. Henry Kissinger The French Foreign Legion – mysterious, romantic, deadly – is filled with men of dubious character, and hardly the place for a proper Englishman just nineteen years of age. Yet in 1960, Simon Murray traveled alone to Paris, Marseilles, and on to Algeria to fulfill the toughest contract of his life: a five-year stint in the Legion. Along the way, he kept a diary.Legionnaire is a compelling, firsthand account of Murray's experience with this legendary band of soldiers. Subjected to brutal sergeants, merciless training methods and barbaric punishments – all in the hostile, sun-baked North African desert – Murray and his fellow men were pushed to breaking point, and beyond.Sixty years on, it remains a remarkable account of one of the most notorious military groups, a tale of true adventure and one man's determination never to surrender.

In Nobody Will Shoot You If You Make Them Laugh: One Man's Journey Through The Mountains And Valleys of Life, the businessman and adventurer Simon Murray tells his extraordinary life story. From an orphanage in Leicester through the rigours and brutality of the English public school system in the 1950s, to a five-year spell in French Foreign Legion, his early life was recounted in his million-selling book Legionnaire.Since 1965 he has been one of the most successful businessmen operating out of Hong Kong. Starting as a sales manager for Jardine Matheson he worked his way up to running Hutchison Whampoa. He has also been actively involved with the Hong Kong Electricity Company, Deutsche Bank Asia Pacific, Glencore and Huawei among others. In-between he founded Orange and other mobile telephone operators across Asia and Africa.He has been off the path many times: climbed in the Atlas Mountains; trekked up to Everest and Annapurna; climbed Kilimanjaro and abseiled down the Shard in London. He is the oldest man to walk unsupported to the South Pole. He has run the Marathon des Sables, 250 kilometres across the Moroccan desert when he was 60 years old, and follows his motto ‘Do not follow where the path may lead, but go instead where there is no path and leave a trail’ somewhat earnestly. He was awarded the CBE from the Queen and been decorated with the Order of Merit and the Legion d’Honneur in France. He claims his greatest success is his marriage of 54 years to Jennifer and the raising of three children and his six grandchildren.

This book engages with the relationship between ruins, dilapidation, and abandonment and cultural events performed within such spaces. The book contextualises these events within the wider framework of Ruin Studies and provides brief summaries of how we might understand the ruin in terms of time, politics, culture, and atmospheres.