Theatre Makers – serie

'Julius Caesar is, simply, Shakespeare's African play' John KaniIn 2012, actor Paterson Joseph played the role of Brutus in the Royal Shakespeare Company's acclaimed production of Julius Caesar - Gregory Doran's last play before becoming Artistic Director for the RSC. It is a play, Joseph is quick to acknowledge, that is widely misunderstood - even dreaded - when it comes to study and performance.Alongside offering fascinating insights into Julius Caesar and Shakespeare's writing, Joseph serves up details of the rehearsal process; his key collaborations during an eclectic career; as well as his experience of working with a majority black cast. He considers the positioning of ethnic minority actors in Shakespeare productions in general, and female actors tackling so seemingly masculine a play in particular. Audience reactions are also investigated by Joseph, citing numerous conversations he has had with psychologists, counsellors and neurologists on the subject of what happens between performer and spectator.For Paterson Joseph, his experience of playing Brutus in Julius Caesar with the RSC was a defining point in his career, and a transformative experience. For any actor or practitioner working on Shakespeare - or for any reader interested in his plays - this is a fascinating and informative read, which unlocks so much about making and understanding theatre from the inside.

'Julius Caesar is, simply, Shakespeare's African play' John KaniIn 2012, actor Paterson Joseph played the role of Brutus in the Royal Shakespeare Company's acclaimed production of Julius Caesar - Gregory Doran's last play before becoming Artistic Director for the RSC. It is a play, Joseph is quick to acknowledge, that is widely misunderstood - even dreaded - when it comes to study and performance.Alongside offering fascinating insights into Julius Caesar and Shakespeare's writing, Joseph serves up details of the rehearsal process; his key collaborations during an eclectic career; as well as his experience of working with a majority black cast. He considers the positioning of ethnic minority actors in Shakespeare productions in general, and female actors tackling so seemingly masculine a play in particular. Audience reactions are also investigated by Joseph, citing numerous conversations he has had with psychologists, counsellors and neurologists on the subject of what happens between performer and spectator.For Paterson Joseph, his experience of playing Brutus in Julius Caesar with the RSC was a defining point in his career, and a transformative experience. For any actor or practitioner working on Shakespeare - or for any reader interested in his plays - this is a fascinating and informative read, which unlocks so much about making and understanding theatre from the inside.

Actor Julie Hesmondhalgh's working diary begins in November 2016 at the end of a full and exciting year of theatre-making with her company, Take Back. The company is a northern-based collective creating immediate script-in-hand responses to social and political events (of which there were many in 2016). Her work with Take Back fell between filming the third series of Broadchurch for ITV and starring in the award-winning play Wit at the Royal Exchange Theatre in Manchester. She kicks off as she prepares to start rehearsals for Mike Leigh's epic film about the Peterloo Massacre of 1819; visits schools and colleges representing Arts Emergency - an organisation set up to promote opportunities for young working-class actors; and awaits news of a possible London transfer of Wit. The book takes in Hesmondhalgh's unique experiences of working in film, theatre, TV and radio drama, and through the ups and downs of life as a working actor and producer, while balancing family life. The events described throughout take place against the backdrop of the huge political change and upheaval as Britain votes in favour of Brexit and Donald Trump is elected as US president. Throughout, Julie Hesmondhalgh considers the impact and challenges of starting a brand new chapter of her career after 16 years in Coronation Street; growing older as a woman in an industry preoccupied by youth and appearance; working with a legend of British film making; running a company; being a parent; experiencing first-hand the huge changes and pressures in the creative industries and arts education; and the lesser-known aspects of an actor's life post-production and publicity. All the while, she attempts to pass on any knowledge or experiences she might have accrued to people starting out in the business in this fascinating year-long journal.

'When directors understand the value of a movement director they remove any sense of hierarchy within the room and place movement directors firmly by their side for they are and should be their co-pilot, navigating and creating the world of the play.’— Joan IyiolaMovement directors work with the physical, living bodies at the heart of theatre productions, creating movement languages with actors and directors. Through a series of in-depth interviews with leading theatre practitioners, Ayse Tashkiran charts the growth of the movement director in contemporary theatre. The voices of Jane Gibson, Sue Lefton, Kate Flatt, Toby Sedgwick, Siân Williams, Struan Leslie, Ellen Kane, Peter Darling, Steven Hoggett, Ann Yee, Imogen Knight and Shelley Maxwell explore processes of creativity, collaboration and innovation for the moving body in performance.The conversations open up:Growth of movement direction through the 20th centuryNew insights into embodied theatre practiceDiverse movement approaches and creative preparationPhysical trainings and influencesWorking methods with directors and actors in the rehearsal roomMovement for actors in opera, film, television and musical theatreRelationships between movement direction and theatre choreographyPotential future developments in the field

'When directors understand the value of a movement director they remove any sense of hierarchy within the room and place movement directors firmly by their side for they are and should be their co-pilot, navigating and creating the world of the play.’— Joan IyiolaMovement directors work with the physical, living bodies at the heart of theatre productions, creating movement languages with actors and directors. Through a series of in-depth interviews with leading theatre practitioners, Ayse Tashkiran charts the growth of the movement director in contemporary theatre. The voices of Jane Gibson, Sue Lefton, Kate Flatt, Toby Sedgwick, Siân Williams, Struan Leslie, Ellen Kane, Peter Darling, Steven Hoggett, Ann Yee, Imogen Knight and Shelley Maxwell explore processes of creativity, collaboration and innovation for the moving body in performance.The conversations open up:Growth of movement direction through the 20th centuryNew insights into embodied theatre practiceDiverse movement approaches and creative preparationPhysical trainings and influencesWorking methods with directors and actors in the rehearsal roomMovement for actors in opera, film, television and musical theatreRelationships between movement direction and theatre choreographyPotential future developments in the field

“An exhilarating, fascinating and eye-opening journey with two of our most inspirational creatives. A must-read for anyone interested in the crafts of acting and writing or considering a career as a self-employed artist. Lolita and Adrian don't shy away from documenting the reality of our profession – the endless multi-tasking, the long unpaid hours, and the peaks and troughs of generating your own work and being a creative-for-hire. Equally though they celebrate the joy and satisfaction when all that sweat and risk finally pays off.” Meera Syal CBEIn this insightful joint working diary, the creative powerhouse of a couple, Lolita Chakrabarti and Adrian Lester, chronicle 16 months of their fascinating working lives, including their experiences working on the stage adaptation of Life of Pi, an original series of monologues about the NHS, the film adaptation of Red Velvet and the TV series The Rook, among many other projects. As readers, we experience, first-hand, their experiences as two of the most proactive and versatile theatre makers today, working across a range of media and exciting collaborations.

The Uncapturable is a wide-ranging reflection on the art of the mise en scène from the perspective of leading Argentinian theatre director Rubén Szuchmacher. It offers a timely and concise, though comprehensive, survey of the role and responsibility of the theatre director from the earliest times to the twenty-first century. Szuchmacher defines theatre as the confluence of four art forms - architecture, visual art, sound and literature - whose works only truly exist in the moment of encounter with an audience. He argues that, by taking full account of these four art forms, analysing them in detail and engaging thoughtfully with the many specialists who come together to bring a mise en scène into being, the director of today can still create work that innovates and inspires. The Uncapturable is as valuable to the apprentice director emerging from their training as it is to the veteran in need of fresh reflection. Szuchmacher draws on the unique learnings gleaned from working in Argentina, be it the impact on theatre of politics, the need for inventiveness in times of hardship, the phenomenon of Argentine 'circus theatre' or the adaptation of literary giants such as Borges, affording the Anglophone reader an alternative perspective on the ideas of theatre we often take for granted.Szuchmacher offers a unique blend of global knowledge, historical awareness and a pragmatic, resourceful and creative approach from a theatre artist working in Latin American through decades of change. The book is translated from the Spanish by William Gregory.

The Uncapturable is a wide-ranging reflection on the art of the mise en scène from the perspective of leading Argentinian theatre director Rubén Szuchmacher. It offers a timely and concise, though comprehensive, survey of the role and responsibility of the theatre director from the earliest times to the twenty-first century. Szuchmacher defines theatre as the confluence of four art forms - architecture, visual art, sound and literature - whose works only truly exist in the moment of encounter with an audience. He argues that, by taking full account of these four art forms, analysing them in detail and engaging thoughtfully with the many specialists who come together to bring a mise en scène into being, the director of today can still create work that innovates and inspires. The Uncapturable is as valuable to the apprentice director emerging from their training as it is to the veteran in need of fresh reflection. Szuchmacher draws on the unique learnings gleaned from working in Argentina, be it the impact on theatre of politics, the need for inventiveness in times of hardship, the phenomenon of Argentine 'circus theatre' or the adaptation of literary giants such as Borges, affording the Anglophone reader an alternative perspective on the ideas of theatre we often take for granted.Szuchmacher offers a unique blend of global knowledge, historical awareness and a pragmatic, resourceful and creative approach from a theatre artist working in Latin American through decades of change. The book is translated from the Spanish by William Gregory.

What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable.For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.

What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable.For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.

Published here in its entirety in English, Artaud’s Revolutionary Messages collects Antonin Artaud’s political, aesthetic and philosophical writings during his travels to Mexico in 1936.Written around the same time as his seminal work The Theatre and its Double, it captures a crucial point in Artaud's life shortly before he was admitted to a mental asylum in which he was to spend a significant part of his later life.Revolutionary Messages contains conferences that Artaud gave at the University of Mexico, articles from the daily Mexican newspaper El Nacional Revolucionario and a study of three seminal artists of the time influenced by or from Mexico: Franz Hals, Ortiz Monasterio and Maria Izquierdo.Not only will you gain crucial insight into Artaud’s time in Mexico and his vision of a “total revolution,” which he places in distinction to Marxist and Surrealist conceptions of revolution, but you will deepen your understanding of the philosophical roots of his theatrical project, which ultimately shaped modern theatre and dance.The publication includes an introduction by the translator, Joel White, and a preface by Professor of European Philosophy, Howard Caygill.

Published here in its entirety in English, Artaud’s Revolutionary Messages collects Antonin Artaud’s political, aesthetic and philosophical writings during his travels to Mexico in 1936.Written around the same time as his seminal work The Theatre and its Double, it captures a crucial point in Artaud's life shortly before he was admitted to a mental asylum in which he was to spend a significant part of his later life.Revolutionary Messages contains conferences that Artaud gave at the University of Mexico, articles from the daily Mexican newspaper El Nacional Revolucionario and a study of three seminal artists of the time influenced by or from Mexico: Franz Hals, Ortiz Monasterio and Maria Izquierdo.Not only will you gain crucial insight into Artaud’s time in Mexico and his vision of a “total revolution,” which he places in distinction to Marxist and Surrealist conceptions of revolution, but you will deepen your understanding of the philosophical roots of his theatrical project, which ultimately shaped modern theatre and dance.The publication includes an introduction by the translator, Joel White, and a preface by Professor of European Philosophy, Howard Caygill.

Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores:- how different cultures conceive theatre and how the norm of one place is the experiment of another;- the ways in which theatre across the world mirrors its socio political and philosophical climate;- how, for thousands of years, theatre has been a tool to both disrupt and to heal;- and how, even within the many differences, there are universals from which we can all learn and how theatre does cross bordersOf interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores:- how different cultures conceive theatre and how the norm of one place is the experiment of another;- the ways in which theatre across the world mirrors its socio political and philosophical climate;- how, for thousands of years, theatre has been a tool to both disrupt and to heal;- and how, even within the many differences, there are universals from which we can all learn and how theatre does cross bordersOf interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

In Ramón Griffero’s seminal work, The Dramaturgy of Space, the playwright and director describes his aesthetic philosophy and theoretical approach to theatrical creation, illustrating his theory through practical application in a series of exercises.As well as touching upon some of Griffero’s own work, like Cinema utopia (1985), Tus deseos en fragmentos (2003), Fin del eclipse (2007) and El azar de la fiesta (1992), this book also reinforces the practicality of Griffero’s concepts through a series of online videos, breaking down each exercise and allowing readers to engage with the effects of his celebrated approach.Published here in English for the first time, in a translation by the leading expert on Griffero, The Dramaturgy of Space reveals the internationally renowned Chilean artist’s thought process, and how his practice has influenced the theatrical, political, and social context, from the Pinochet dictatorship to the present day.

In Ramón Griffero’s seminal work, The Dramaturgy of Space, the playwright and director describes his aesthetic philosophy and theoretical approach to theatrical creation, illustrating his theory through practical application in a series of exercises.As well as touching upon some of Griffero’s own work, like Cinema utopia (1985), Tus deseos en fragmentos (2003), Fin del eclipse (2007) and El azar de la fiesta (1992), this book also reinforces the practicality of Griffero’s concepts through a series of online videos, breaking down each exercise and allowing readers to engage with the effects of his celebrated approach.Published here in English for the first time, in a translation by the leading expert on Griffero, The Dramaturgy of Space reveals the internationally renowned Chilean artist’s thought process, and how his practice has influenced the theatrical, political, and social context, from the Pinochet dictatorship to the present day.

Featuring conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed.With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre:* R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur?* What does theatre look like at the local and hyper-local level and when working with young people and communities at risk?* What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways?* How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive?* Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?

Featuring conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed.With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre:* R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur?* What does theatre look like at the local and hyper-local level and when working with young people and communities at risk?* What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways?* How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive?* Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?

How do theatre makers in Britain produce immersive, participatory experiences for audiences? How are productions designed and rehearsed, and how can the experience of different companies inform your own practice and understanding of this burgeoning craft?This collection of original discussions with some of Britain's leading immersive and interactive theatre makers explores their processes, methods and practices, offering a behind-the-scenes tour of how they make their work. It provides new material addressing a range of previously undisclosed topics including approaches to casting and rehearsal strategies, through to more concrete concerns such as funding and finance models. They reveal the discrete nuts and bolts of building audience-experience, and candidly discuss their own position to the term ‘immersive’ and how they perceive their place within the wider experience-centric cultural landscape.This collection combines perspectives from practitioners across the spectrum of immersions and interactivity in performance to showcase working methods across a variety of forms; from one-on-one, to gamified, playable experiences. The diversity of conversations captured in this volume reflects the polyphony of the immersive and interactive landscape in Britain, introducing readers to the work of Les Enfants Terrible, Parabolic, COLAB Theatre, The Lab Collective, Cross Collaborations, and ZU-UK. Makers participate in frank dialogue that reveals the ways in which they employ scenography, design, game and structural mechanics, approaches to stage management tactics, as well as the development of audience relationships, the role of intimacy and agency.

How do theatre makers in Britain produce immersive, participatory experiences for audiences? How are productions designed and rehearsed, and how can the experience of different companies inform your own practice and understanding of this burgeoning craft?This collection of original discussions with some of Britain's leading immersive and interactive theatre makers explores their processes, methods and practices, offering a behind-the-scenes tour of how they make their work. It provides new material addressing a range of previously undisclosed topics including approaches to casting and rehearsal strategies, through to more concrete concerns such as funding and finance models. They reveal the discrete nuts and bolts of building audience-experience, and candidly discuss their own position to the term ‘immersive’ and how they perceive their place within the wider experience-centric cultural landscape.This collection combines perspectives from practitioners across the spectrum of immersions and interactivity in performance to showcase working methods across a variety of forms; from one-on-one, to gamified, playable experiences. The diversity of conversations captured in this volume reflects the polyphony of the immersive and interactive landscape in Britain, introducing readers to the work of Les Enfants Terrible, Parabolic, COLAB Theatre, The Lab Collective, Cross Collaborations, and ZU-UK. Makers participate in frank dialogue that reveals the ways in which they employ scenography, design, game and structural mechanics, approaches to stage management tactics, as well as the development of audience relationships, the role of intimacy and agency.

In this book, world-renowned theatre artist Pamela Howard OBE shows how her life has always been part of the art of making theatre. Part memoir, part a personal account of artistic creation, it is a work of art in its own right. Its 12 chapters, accompanied by original drawings, offer insights into Pamela Howard’s creative world and the journey through life of a celebrated artist, ranging from her early life and influences, to her time at art college and the inspiration she gained from travelling the world.Following the trajectory of her life, the 12 ‘dreams’ are poised between memory and history and give an account of an artist’s growth, resilience, working patterns, and life-changing encounters with remarkable personalities and artists, as well as the practical side of working in the theatre, in visual arts and in education. Her art tells unexpected stories of little-noticed people and émigré communities, and makes performance for diverse audiences from the unique experience of one’s own life. Pamela Howard's dreams have led her to work across the globe and teach and inspire several generations of theatre makers, scenographers, designers and visual artists. The Art of Making Theatre passes on that inspiration afresh and demonstrates that being an artist is not a one-off project but a way of life.

In this book, world-renowned theatre artist Pamela Howard OBE shows how her life has always been part of the art of making theatre. Part memoir, part a personal account of artistic creation, it is a work of art in its own right. Its 12 chapters, accompanied by original drawings, offer insights into Pamela Howard’s creative world and the journey through life of a celebrated artist, ranging from her early life and influences, to her time at art college and the inspiration she gained from travelling the world.Following the trajectory of her life, the 12 ‘dreams’ are poised between memory and history and give an account of an artist’s growth, resilience, working patterns, and life-changing encounters with remarkable personalities and artists, as well as the practical side of working in the theatre, in visual arts and in education. Her art tells unexpected stories of little-noticed people and émigré communities, and makes performance for diverse audiences from the unique experience of one’s own life. Pamela Howard's dreams have led her to work across the globe and teach and inspire several generations of theatre makers, scenographers, designers and visual artists. The Art of Making Theatre passes on that inspiration afresh and demonstrates that being an artist is not a one-off project but a way of life.

Renowned theatre and film director Nancy Meckler delves into her hugely varied experiences in the rehearsal room and shares examples of tried-and-tested “tools” to bring a play to life. Meckler encourages you to interrogate, play, experiment and to use her methods as a starting point to begin creating your own unique directing toolkit and finding your own style. The examples are drawn from her experience directing a range of work from classic plays, including work by Chekhov, Brecht and Shakespeare, to new writing, including work by Pam Gems and Sam Shepard, and in a wide range of renowned theatres, including the RSC, National Theatre, Royal Court and a number of the UK's regional theatres.The author's approachable and relatable writing style enables an in-depth look into how she works with actors and the many ways in which she may approach a new project while also providing with a unique insight into her own wealth of experience over a remarkable career as an award-winning and internationally celebrated director.

Renowned theatre and film director Nancy Meckler delves into her hugely varied experiences in the rehearsal room and shares examples of tried-and-tested “tools” to bring a play to life. Meckler encourages you to interrogate, play, experiment and to use her methods as a starting point to begin creating your own unique directing toolkit and finding your own style. The examples are drawn from her experience directing a range of work from classic plays, including work by Chekhov, Brecht and Shakespeare, to new writing, including work by Pam Gems and Sam Shepard, and in a wide range of renowned theatres, including the RSC, National Theatre, Royal Court and a number of the UK's regional theatres.The author's approachable and relatable writing style enables an in-depth look into how she works with actors and the many ways in which she may approach a new project while also providing with a unique insight into her own wealth of experience over a remarkable career as an award-winning and internationally celebrated director.

In The Theatre and Its Double, first published in 1938, Antonin Artaud puts forward his radical theories on drama and theatre, which he saw as being stifled by conservatism and a lack of experimentation.Containing the famous manifestos of the ‘Theatre of Cruelty’, this collection of essays analyses the underlying impulses of performance, provides suggestions on a physical-training method for actors, and features a long appreciation of the expressive values of Eastern dance drama.This new English translation of Artaud's canonical text by Mark Taylor-Batty retains the idiosyncratic nature of the author's writing, communicating its fervour and ambition, while achieving a much-needed clarity.Through doing so, it facilitates a fuller appreciation of Artaud’s artistic objectives and the original context in which they grew, aided by a newly translated set of his notes and drafts, and a selection of letters to his publisher, friends and associates concerning the book's genesis and the evolution of the concept of a ‘Theatre of Cruelty’. The commentary further contextualizes this material within Artaud’s broader oeuvre, from his collaboration with the Surrealist group through to his plans to stage his own adaptation of Percy Shelley’s Les Cenci in 1935.A welcome addition to any theatre-lover's or student's bookshelf, this translation of Artaud’s classic text offers clear and faithful insights into Artaud's theatre.

In The Theatre and Its Double, first published in 1938, Antonin Artaud puts forward his radical theories on drama and theatre, which he saw as being stifled by conservatism and a lack of experimentation.Containing the famous manifestos of the ‘Theatre of Cruelty’, this collection of essays analyses the underlying impulses of performance, provides suggestions on a physical-training method for actors, and features a long appreciation of the expressive values of Eastern dance drama.This new English translation of Artaud's canonical text by Mark Taylor-Batty retains the idiosyncratic nature of the author's writing, communicating its fervour and ambition, while achieving a much-needed clarity.Through doing so, it facilitates a fuller appreciation of Artaud’s artistic objectives and the original context in which they grew, aided by a newly translated set of his notes and drafts, and a selection of letters to his publisher, friends and associates concerning the book's genesis and the evolution of the concept of a ‘Theatre of Cruelty’. The commentary further contextualizes this material within Artaud’s broader oeuvre, from his collaboration with the Surrealist group through to his plans to stage his own adaptation of Percy Shelley’s Les Cenci in 1935.A welcome addition to any theatre-lover's or student's bookshelf, this translation of Artaud’s classic text offers clear and faithful insights into Artaud's theatre.

Award-winning British playwright Leo Butler looks back over 25 of writing for the stage and his extensive experience teaching and mentoring emerging playwrights through the Royal Court Young Writers' Programme.With honesty and humour, Leo Butler shares his experiences from his working-class upbringing in Sheffield, including his disastrous state education, his years on the dole, to his breakthrough into the professional theatre industry.This personal account criss-crosses his life and career, exploring the influences and experiences that informed critically acclaimed plays such as Redundant, I'll Be the Devil, Lucky Dog and, more recently, Boy.Throughout, Butler includes a wealth of tips and practical exercises, tried and tested on his students, to help the reader with their own playwriting development; discusses the challenges of how to actually make a living from this work; and considers how the landscape has changed today from 25 years ago.Through recollections of collaborations with professional peers and ex-students (including Polly Stenham, Anya Reiss, and Nick Payne), Leo Butler gives an insight into the intricacies of the early 21st century theatre scene in which playwriting skills were developed and shared. He also includes excerpts from personal rejection letters, rehearsal notes and his notebooks to bring his playwriting journey to life.Brutally honest, often surreal, often funny, this book will entertain and inspire anyone who has ever thought of writing, a play, or is interested in the life and practice of a playwright.

Award-winning British playwright Leo Butler looks back over 25 of writing for the stage and his extensive experience teaching and mentoring emerging playwrights through the Royal Court Young Writers' Programme.With honesty and humour, Leo Butler shares his experiences from his working-class upbringing in Sheffield, including his disastrous state education, his years on the dole, to his breakthrough into the professional theatre industry.This personal account criss-crosses his life and career, exploring the influences and experiences that informed critically acclaimed plays such as Redundant, I'll Be the Devil, Lucky Dog and, more recently, Boy.Throughout, Butler includes a wealth of tips and practical exercises, tried and tested on his students, to help the reader with their own playwriting development; discusses the challenges of how to actually make a living from this work; and considers how the landscape has changed today from 25 years ago.Through recollections of collaborations with professional peers and ex-students (including Polly Stenham, Anya Reiss, and Nick Payne), Leo Butler gives an insight into the intricacies of the early 21st century theatre scene in which playwriting skills were developed and shared. He also includes excerpts from personal rejection letters, rehearsal notes and his notebooks to bring his playwriting journey to life.Brutally honest, often surreal, often funny, this book will entertain and inspire anyone who has ever thought of writing, a play, or is interested in the life and practice of a playwright.

In the early 1930s, during his first years of exile and 20 years before the publication of his seminal work To the Actor, Michael Chekhov made his first incursion into the challenging task of writing about an actor’s experience and his vision of the craft. This important, though largely forgotten, work (the so-called ‘Paris Manuscript’) was handwritten in German and in it we find Chekhov laying the groundwork for the canon of exercises and practices that, nearly a century later, has widely become known as the Michael Chekhov Technique. Although never completed, the manuscript affords a privileged fly-on-the-wall glimpse of the dawning of an artistic genius’s creative vision.This manuscript was the result of Chekhov’s rich collaboration with Swiss theatre director, painter and illustrator Georgette Boner, and the text itself is supplemented with facsimile scans of manuscript pages, photographs, correspondence and other material from Boner’s personal archive.As the popularity of the Michael Chekhov Technique continues to spread globally, the ‘Paris Manuscript’ offers a timely invitation for actors to take a step back and (re)discover for themselves the structural foundations of Michael Chekhov's vision.Chekhov’s text has been translated, edited and abridged by Hugo Moss, co-founder and director of Michael Chekhov Brasil, who has written an introduction and a series of short essays, ‘Reflections From the Studio’, which build on a few key elements emerging from the manuscript and over a decade of exploring Chekhov's artistic legacy in the studio environment and in performance.