Biography and Autobiography – serie

LONGLISTED FOR THE 2020 BAILLIE GIFFORD PRIZECHOSEN AS A BOOK OF THE YEAR BY THE GUARDIAN, OBSERVER, THE TIMES, SUNDAY TIMES, DAILY TELEGRAPH, MAIL ON SUNDAY, FINANCIAL TIMES, NEW STATESMAN, SPECTATORTHE SUNDAY TIMES ART BOOK OF THE YEAR 2020'Explosively enjoyable, bursting with life and art ... A central figure as wild and beguiling as any character in literature' CRAIG BROWN William Feaver, Lucian Freud’s collaborator, curator and close friend, knew the unknowable artist better than most. Over many years, Freud narrated to him the story of his life, ‘our novel’.Fame follows Freud at the height of his powers, painting the most iconic works of his career in a constant pursuit of perfection, just outrunning his gambling debts and tailor’s bills. Whether tattooing swallows at the base of Kate Moss’s back or exacting a strange revenge on Jerry Hall and Mick Jagger, Freud’s adventures were always perfectly characteristic. An enfant terrible till the end, even as he was commissioned to paint the Queen, what emerges is an artist wilfully oblivious to the glitter of the world around – and focussed instead on painting first and last.‘A dazzling tour de force’ THE TIMES'A wonderfully vivid chronicle' OBSERVER‘Does justice to Freud’s pitiless genius’ DAILY MAIL

"This book is a necessity of every actor's life...one of the most remarkable books about the theatre that I have ever read" (Observer) No one has had a greater influence on acting as we know it than Stanislavski. His "method" - or interpretations of it - has become the central force determining almost every performance we see on stage or screen. In My Life in Art Stanislavski recalls his theatrical career, from his early experiences in Rubinstein's Russian Musical Society to his final triumphs with Chekhov at the Moscow Art Theatre. His vivid account of his own most famous productions is interspersed with his anecdotes of the famous - of Kommisarjevksy, Tolstoy, Gorky, and of the Moscow visit of Isadora Duncan and Gordon Craig."The whole book is packed with entertainment, alternating with shrewd observation and a wealth of worldly wisdom...the most interesting and original work on the theatre that has been published for years" - Daily Telegraph"A wise and delightful book...it is packed with sage practical counsel to actors and actresses" - Times Literary Supplement

A reissue in hardback of critic John Lahr's famous 1982 study of Noel Coward's plays "Noel Coward," said Terence Rattigan, "is simply a phenomenon, and one that is unlikely to occur ever again in theatre history." A phenomenon he certainly was, and it is part of John Lahr's purpose in this book to show how that phenomenon called "Noel Coward" was largely Coward's own careful creation. Lahr's penetrating critical study of Coward's drama investigates all the major and minor plays of "The Master". Private Lives, Design for Living and Hay Fever make a fascinating group of "Comedies of Bad Manners". Blithe Spirit and Relative Values raise the "Ghost in the Fun Machine". Lahr then goes on to explore the "politics of charm" oozing through The Vortex, Easy Virtue and Present Laughter. In all Coward's plays Lahr uncovers a coherent philosophy in which charm is both the subject of Coward's comedies and the trap which made his very public life a perpetual performance."A smashing, thoughtful and very good guide to Coward's plays" (Sheridan Morley)

Robert Wilson's theatre is the stuff of legend. He has taught theatre-goers to see the world with different eyes. Stefan Brecht's book provides detailed documentation and analysis of a number of Wilson's earliest groundbreaking works including The Life of Sigmund Freud, Deafman Glance and Einstein on the Beach. "Never since I was born have I seen anything more beautiful on this earth, never ever has there been another performance to equal this one, because it is simultaneously life at its most vivid and life with its eyes closed, reality mixed with dreaming, the inexplicability of everything in a deaf man's glance." (Louis Aragon Open Letter to Andre Breton)"His theatre is a world of its own" (Heiner Muller)

"This is the most complete description yet available in English of Stanislavski's real life in art" (New York Times) Jean Benedetti's critical biography of Konstantin Stanislavski, one of the towering figures of twentieth-century theatre, has been fully revised and expanded offering new facts and insights into Stanislavski's life and arts. This new edition, written with unprecedented access to original Russian material including letters and production notes never previously translated, explores the collaboration and often bitter disputes with Nemirovich Danchenko, co-founder of the Moscow Art Theatre, and traces further Stanislavski's often troubled relationship with the company he led. It gives a new account of the difficulties and tensions that lay behind the highly influential 1922-4 American tour.Benedetti also gives us fuller versions of key moments in Stanislavski's career: his arbitrary arrest in 1919 and his troubled relationship with the Soviet regime over artistic differences; a greater understanding of how Stanislavski's seminal books on acting came to be written, edited and translated into English only to lead to gross misunderstanding of his work; plus the best understanding yet of the evolution of Stanislavski's revolutionary acting 'system'."Benedetti's biography rescues Stanislavski from his stereotypes and will reinstate him for this and coming theatrical generations. It's written with the clarity of shape, firmness of purpose and fullness of emotion that mark out a good piece of acting." (Guardian) "Both extremely informative and highly readable, this biography will become the one indispensable book in English for anyone beginning to study not just Stanislavski and the Moscow Art Theatre, but also the foundations of modern acting and directing." (Theatre Research International)

"Welfare State International are brilliant at making an audience of strangers into a community" (Guardian) Since its foundation by John Fox in 1968, Welfare State International has developed a unique form of celebratory theatre that reaches popular audiences through remarkable combinations of archetypal and contemporary imagery. This handbook is a guide to the basic techniques of the company's work - the making of processions; large scale puppets and sculptures; fixed structures; fire and ice technology; shadow puppets; processional theatre and dance music - set in a context that explains the thinking behind the work, and describes some past Welfare State International events. This is first and foremost a practical book rather than an academic treatise.

A book on the cultural and revolutionary florescence of the American Theatre, circa 1963-1973 A comprehensive study of the 'revolutionary' theatre of New York director/writer Peter Schumann including production details, photographs and extracts of the plays themselves.

Hailed as "the theatrical event of this century" (Sunday Times), Peter Brook's unique dramatisation of India's great epic poem, The Mahabharata played to ecstatic audiences worldwide. In The Shifting Point, his first book since The Empty Space, Brook assesses the lessons of his pioneering work from his brilliant debut at Stratford and the West End in the 1960s to the triumphant success of The Mahabharata. With the bravura and insight of a great practitioner and explorer he reveals some of the inspiration behind his extraordinary career."The great thing about Brook is that, in a medium where others provide answers, he keeps asking questions. This sage and stimulating book shows that, inside a sophisticated adult mind, lurks the intemperate curiosity of a child; which is the mark of genius." (Michael Billington, Listener)

A portrait of the writer Mikhail Bulgakov, fighting for his work and his life in a society riven with fear of Stalin's tyranny Mikhail Bulgakov was born in Kiev in 1891. He started as a career writing articles and satiric short stories about the revolution and the economic reconstruction in the young Soviet state. He drew on these writings in many of his stage plays which brought him into conflict with the authorities. He died in 1940.

Peter Brook is the most consistently innovative director in Western theatre. In these three essays he returns to the concept of his first book The Empty Space and examines what that means for the life of a production. How can a company establish its own "empty space" - a rehearsal and performance environment which will encourage the actors to abandon the security of the hackneyed and release their true creativity?The potency of Brook's writing lies in his ability invest general truths with fresh vigour and to be as simple as he is profound.

"A fascinating account of the trials and tribulations behind what turned into a triumphant South African production of Shakespeare's bloodiest tragedy, Titus Andronicus" (Independent) "Shakespeare in Tarantino mode" is how actor Antony Sher and director Gregory Doran describe Titus Andronicus, one of the most violent plays ever written. They decided to mount a production at the celebrated Market Theatre in Johannesburg with a top South African multi-racial cast. This is an account of their extraordinary journey: from the historic first visit of the Royal National Theatre Studio to South Africa in 1994, to the rehearsals and controversial opening of Titus at the Market, and the acclaim that greeted its subsequent performances in London, Leeds and Spain. This is not only a fascinating insight into how a director and actor approach a classic play, it is also a portrait of theatre in South Africa, emerging from the dark ages of apartheid, and a moving and often funny account of Antony Sher's professional debut in his homeland.

"The narrative of the founding and embattled maintenance of The Living Theatre is a ripping American epic...an important book that will serve as a reference for years to come" (American Theatre Magazine) Throughout the 1950s and 1960s the Living Theatre was the most radical group in American theatrical history. Their flamboyant and counter-cultural experiments attracted international attention, their performances were leftist and sexually explicit. They suffered repeated censorship, arrests and imprisonments. In every way they were wildly notorious and theatrical. Tytell's history of the company is a detailed biography of its two charismatic founders and lead performers, Julian Beck and Judith Malina, and a searching look at the American avant-garde at mid-century. His story of the Living Theatre is also filled with a glittering and exotic cast of characters including Tennessee Williams, Frank O'Hara, Anais Nin, James Agee, Allen Ginsberg and the Beats, Jackson Pollock and the Abstract Expressionists, Peggy Guggenheim, Merce Cunningham, John Cage, Francis Ford Coppola and Robert and Ira Cohen."A warm and passionate history of one of the great radical theatres of our time and a wonderful chronicle of the American cultural and social scene of the last fifty years. I recommend it to anyone who loves theatre." (Andre Gregory) "From the earliest years of its formation to the powerful and lasting impact on the American culture, John Tytell accurately recalls the people and the events that gave life and liberty to the Living Theatre. I'm indebted to Tytell for this honest and moving portrait of Julian Beck and Judith Malina." (Martin Sheen)

Edward Braun's acclaimed work on Meyerhold available for the first time in paperback Vsevolod Meyerhold began his career in theatre as an actor with the Moscow Art Theatre, and after a spell in the remote provinces, he returned to Moscow at Stanislavski's invitation and founded a new, experimental studio for the Art Theatre. This book takes us through Meyerhold's extraordinary life of experiment and discovery, describing his rehearsal techniques and exercises and provides an acute assessment of his continuing influence on contemporary theatre.

"The story of Stoppard's life is a compelling one and it is laid out with extraordinary detail in this first major biography" - Evening Standard Double Act is the first major biography of one of the world's celebrated most writers, From his early theatrical success as the youngest playwright ever produced at the National Theatre, to his Academy Award for Shakespeare in Love, Tom Stoppard's work is renowned for its dazzling wit, invention and box-office appeal. But his real life is a more complicated affair still; and this acclaimed and authoritative book reveals the remarkable private story of a man who from childhood had to invent his own personality, and whose multi-layered dramas reflect the enduring contradictions of his life."An impressive biography ...it makes a good story out of that most unpromising subject, an unqualified and extended triumph." Spectator "Appealingly embellished with Stoppard's shrewd witticisms about his work and full of keen perceptions of its own, Double Act offers an exhaustive and enlightening overview of a singular talent that is happiest when expressing itself in dual ways."Sunday Times "Nadel is excellent at providing an exposition of Stoppard's ideas and the wider social context in which he lives." Independent on Sunday "A searching biography of this mercurial writer ...Nadel builds an engrossing picture of someone in continual self-reinvention." Jewish Chronicle "Stoppard's playwriting career, unsurprisingly, constitutes the largest component of the biography, and the production details, gossip and contractual facts make for fascinating reading." Irish Times "If the genius of Nadel's subject lies in paradox, it also needs genius to turn that paradox into an event. This book is one, and a palpable hit." Good Book Guide "Essential reading for all students of theatre." Hampstead & Highgate

The theatre's greatest contemporary director tells the story of his life Peter Brook is the modern stage's greatest inventor. For over fifty years he has held audiences spellbound with his critically acclaimed productions. Now he has finally written an account of his life. Born in 1925 in London, at twenty-one Brook became the enfant terrible of British theatre directing major post-war productions of Shakespeare at Stratford-upon-Avon, opera at Covent Garden and new plays in London's West End. He even made films. In 1964 he produced Peter Weiss's Marat/Sade for the RSC and his whole approach to theatre became radicalised. Throughout the 1970s and 1980s Brook began exploring the roots of non-Western theatre which once again changed his view of what theatre could be for actors and audiences. His journey took him to Paris where he founded a company at the Bouffes du Nord theatre where he still works today. Brook's biography charts all the stages of his aesthetic and spiritual journey, and touches on all parts of a career that has been widely reported but never previously talked about from his personal perspective." First there was the master conjurer adept at musicals, farces, opera and Shakespeare.Then there was the philosopher-king...who has devoted his energies to a quest for a theatre that was simple in form and rich in meaning" (Michael Billington)

The first and only full-length critical study of Dario Fo, the 1997 Nobel Prize for Literature Winner This book, now extensively rewritten and updated, remains the only full-length critical study to cover various phases of Dario Fo's theatrical career. It looks at Fo's political influences and also the influence on his work of various theatrical motifs, including the great clown traditions which stretch back to the middle ages. The political work of Dario Fo and his wife/collaborator Franca Rame is charted from the 1960s up to the present to give the reader clear insight into this playwright/performer's unique literary and theatrical strengths. Each of Fo's plays and productions is discussed at length and the author has included an extensive and updated bibliography which includes full production details, quotes and writings about Fo.Always a popular performer in his native Italy, Fo has been one of the world's most performed dramatists. In the author's words: he is the "people's court jester".

This unusually candid volume of Brook in dialogue provides an uninhibited encounter with contemporary theatre's most influential director The result of twelve hours of spontaneous question and answer sessions, Between Two Silences shows Brook responding to points raised by students and lecturers about his work and ideas. Ranging widely over many topics, he talks about his innovative and award-winning production of The Marat/Sade, his film and stage versions of King Lear, and his nine-hour production of the Indian epic The Mahabharata. With passion and clarity he discusses acting, directing, auditions, film versus the stage, his responses to the work of other theatre figures like Grotowski and Artaud, and the multiculturalism which characterises his most recent work. Between Two Silences offers a rare insight into Brook's beliefs and thoughts on theatre, giving straightforward answers to the often complex questions which his work and writings have raised."Brook is someone prepared to dream, take risks, fail and then try again, succeed and still try again: a genius, and a creative one." Benedict Nightingale, (Times Literary Supplement)

The definitive single-volume work on Shakespeare's life and plays by the editor of the Oxford Shakespeare Why do Shakespeare's works continue to exert so strong an influence and have such lasting appeal? What do they have to offer modern readers and play-goers? Stanley Wells answers these questions in this wide-ranging and hugely readable critical survey of Shakespeare's career as a poet and playwright. The result of Wells' lifetime's work on Shakespeare's plays and poems, this original and entertaining study is both an ideal introduction to the writer and an invaluable companion for those renewing their acquaintance with his work either as readers or theatre-goers."A lively, comprehensive, eminently readable study of Shakespeare's plays ...There is an easy but sparky cross-flow between scholarly research and reference to contemporary theatre productions, and countless, fascinating dips into the tub of theatrical history ...This has diamond precision and would enlighten student, actor or general reader" Sunday Times

Now in paperback, the hugely acclaimed, authorised biography of Britain's most popular playwright Alan Ayckbourn is Britain's most popular playwright and its most private. He has won numerous awards for his plays and has worked with some of theatre's most celebrated names, yet he spends most of his time away from the limelight in a Yorkshire seaside town not writing at all but running a small repertory theatre. This is a portrait of a man who - from Relatively Speaking in 1965 to his double play House and Garden at the National Theatre in 2000 - has chronicled human behaviour, our aspirations and insecurities, while shaping the theatrical experience of millions."Mr Allen's book makes me want to start reading the entire Ayckbourn canon over again...splendid stuff" Hugh Leonard, Sunday Independent "Paul Allen has come up with a wise, well-informed book that not only persuades us of Ayckbourn's genius but also helps to explain this complex, driven man" Michael Billington, Country Life "Lucid, meticulously researched ...this impressively detailed account benefits from Paul Allen's rich inside knowledge of theatre" Terry Eagleton, Times Literary Supplement "Thorough and enjoyable" Christopher Hirst, Independent

The definitive account, in his own words, of one of the most popular figures in British theatre. The second and concluding volume of Noel Coward's legendary autobiography includes Future Indefinite and the unfinished Past Unconditional. With his trademark wit, Coward delivers anecdotes about his travels in South America, Hollywood encounters with an array of contemporary stars and directors, and his later theatrical successes, including the Broadway triumph of Design For Living. The showbiz glamour aside, we also encounter a middle-aged man coming to terms with a world in disarray; his confused feelings towards the war and his own part in it exposing a more serious and thoughtful side to a performer and raconteur more usually associated with frivolity. Future Indefinite sees Coward transformed from a 'brazen odious little prodigy' into one of the most exuberant characters in British theatrical history. "His writing is superb, his precise languid drawl put down on the page" Daily Express

"I was photographed naked on a cushion very early in life, an insane, toothless smile slitting my face and pleats of fat overlapping me like an ill-fitting overcoat. Later, at the age of two, I was photographed again. This time in a lace dress, leaning against a garden roller and laughing hysterically. If these photographs can be found they will adorn this book." Thus begins the life story of one of the most celebrated characters in British theatrical history, in the first of Coward's autobiographies, first published in 1937. Displaying an early dedication to the theatre, Present Indicative hints at the success that would come to Coward as actor, playwright, novelist and performer. Each line is punctuated with his trademark effervescent wit, making this book a comic tour de force in it's own right, as well as a "must read" for anyone with an interest in the British stage. "He is simply a phenomenon, and one that is unlikely to occur ever again in theatre history" Terence Rattigan

Reflections on the late Arthur Miller from over seventy writers, actors, directors and friends, with 'Arthur Miller Remembers', an interview with the writer from 1995. Following his death in February 2005, newspapers were filled with tributes to the man regarded by many as the greatest playwright of the twentieth century. Published as a celebration and commemoration of his life, Part I of Remembering Arthur Miller is a collection of over seventy specially commissioned pieces from writers, actors, directors and friends, providing personal, critical and professional commentary on the man who gave the theatre such timeless classics as All my Sons, A View from the Bridge, The Death of a Salesman, and The Crucible. Contributors read like a Who's Who of theatre, film and literature: Edward Albee, Alan Ayckbourn, Brian Cox, Richard Eyre, Joseph Fiennes, Nadine Gordimer, Dustin Hoffman, Warren Mitchell, Harold Pinter, Vanessa Redgrave and Tom Stoppard, to name but a few. Part II, 'Arthur Miller Remembers', is an in-depth and wide-ranging interview conducted with Miller in 1995.Bigsby's expertise and Miller's candour produce a wonderfully insightful commentary and analysis both of Miller's life and the life of twentieth century America. It covers Miller's upbringing in Harlem, the Depression, marriage to Marilyn Monroe, post-war America, being sentenced to prison by the House Un-American Activities Committee in 1956, and his presidency of the writer's organisation, PEN International. The discourse also provides a commentary on and analysis of his many plays andMiller's reflections on the Amercian theatre.

The Worst It Can Be is a Disaster is the autobiography of Braham Murray, founding director of the Royal Exchange Manchester which in 2006 celebrated its thirtieth anniversary. With a foreword by Sir Tom Courtenay. Born into a Jewish family, Braham Murray struggled against his parents' expectations that he should follow them into the world of commerce; instead he became at twenty-two the youngest artistic director in the country when he took over Century Theatre, a theatre company based in Manchester. Detailing his relationships and the theatrical successes and flops along the way, the narrative takes us through his early years with Century Theatre, with the 69 Theatre Company, and the birth of the Royal Exchange Manchester in the heart of Manchester in 1976. Twenty years later, the theatre rose from the ashes of the IRA bomb brilliantly opening a new production on time just ten days after the bomb had destroyed the city centre. The role and influence of the author's Jewish heritage and of his key collaborators - including Caspar Wrede and Michael Elliott - are explored in this illuminating and inspiring account of one of English theatre's great directors.'Braham's passion is sometimes overwhelming, sometimes annoying but completely inspirational. It's his passion that the Royal Exchange has thrived on, and this book is full of his passion for the theatre.' Robert Lindsay

"Brook is someone prepared to dream, take risks, fail and then try again, succeed and still try again: a genius, and a creative one." Benedict Nightingale, Times Literary SupplementThis unusually candid volume of Brook in dialogue provides an uninhibited encounter with contemporary theatre''s most influential director.The result of 12 hours of spontaneous question and answer sessions, Between Two Silences shows Brook responding to points raised by students and lecturers about his work and ideas. Ranging widely over many topics, he talks about his innovative and award-winning production of The Marat/Sade, his film and stage versions of King Lear, and his nine-hour production of the Indian epic The Mahabharata. With passion and clarity he discusses acting, directing, auditions, film versus the stage, his responses to the work of other theatre figures such as Grotowski and Artaud, and the multiculturalism which characterises his most recent work. Between Two Silences offers a rare insight into Brook''s beliefs and thoughts on theatre, giving straightforward answers to the often complex questions which his work and writings have raised.

"First there was the master conjurer adept at musicals, farces, opera and Shakespeare. Then there was the philosopher-king ... who has devoted his energies to a quest for a theatre that was simple in form and rich in meaning." - Michael BillingtonThe theatre''s greatest contemporary director tells the story of his life.Peter Brook was the modern stage''s greatest inventor. For over 50 years he held audiences spellbound with his critically acclaimed productions. This is his account of his life. Born in 1925 in London, at 21 Brook became the enfant terrible of British theatre, directing major post-war productions of Shakespeare at Stratford-upon-Avon, opera at Covent Garden and new plays in London''s West End. He even made films. In 1964 he produced Peter Weiss''s Marat/Sade for the RSC and his whole approach to theatre became radicalised. Throughout the 1970s and 1980s Brook began exploring the roots of non-Western theatre which once again changed his view of what theatre could be for actors and audiences. His journey took him to Paris where he founded a company at the Bouffes du Nord theatre. Brook''s biography charts all the stages of his aesthetic and spiritual journey, and touches on all parts of a career that has been widely reported but never previously talked about from his personal perspective.

Peter Brook was the most consistently innovative director in Western theatre. In these three essays he returns to the concept of his first book The Empty Space and examines what that means for the life of a production. How can a company establish its own "empty space" - a rehearsal and performance environment which will encourage the actors to abandon the security of the hackneyed and release their true creativity?The potency of Brook''s writing lies in his ability invest general truths with fresh vigour and to be as simple as he is profound.