Educational: Drama and performance arts

Book SynopsisThe Gruffalo is an internationally bestselling picture book, a popular stage show, a BAFTA and Oscar-nominated animation - and now the story has been adapted into a fun and accessible play script by Julia Donaldson. Ideal for children to use as a school play or at home, The Gruffalo Play has been designed with rehearsals and performance in mind. A clear layout and colour-coding for each character will help children to follow their lines and join the action with ease. The book also contains a hints and tips section which includes helpful advice on staging the play and performing it with larger groups. There are ideas too for themed make-and-do Gruffalo activities, as well as stage make-up for Gruffalo and Mouse! And of course no production of The Gruffalo Play would be complete without the lyrics and music for beloved Gruffalo Song.With Axel Scheffler's fun illustrations, this wonderful, dramatic way to share the classic story i

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Book SynopsisThis revised Student Edition includes an introduction by Bess Rowen, Visiting Assistant Professor at Villanova University, US, which looks in particular at the play''s treatment of rape, vulnerable people, mental institutions (especially in connection to Williams''s own family), sexuality and sexual desire.A Streetcar Named Desire shows a turbulent confrontation between traditional values in the American South - an old-world graciousness and beauty running decoratively to seed - set against the rough-edged, aggressive materialism of the new world. Through the vividly characterised figures of Southern belle Blanche Dubois, seeking refuge from physical ugliness in decayed gentility, and her brutal brother-in-law Stanley Kowalski, Tennessee Williams dramatises his sense of the South''s past as still active and often destructive in modern America.METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as thTable of ContentsChronology Introduction Cultural Context: The United States in the 1940s The Glass Menagerie and the Beginning of an Era Williams and the Writing Process Realism, Naturalism, and Expressionism Method Acting and Elia Kazan Depicting Rape and Vulnerability Sex and Sexuality Production History and Adaptations Further Reading A Streetcar Named Desire Notes

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Book SynopsisRosencrantz and Guildenstern Are Dead is a play which, as it were, takes place in the wings of Hamlet, and finds both humour and poignancy in the situation of the ill-fated attendant lords. The National Theatre production in April 1967 made Tom Stoppard''s reputation virtually overnight. Its wit, stagecraft and verbal verve remain as exhilarating as they were then and the play has become a contemporary classic.

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Book SynopsisTeddy, a philosophy professor in an American university, brings his wife Ruth to visit his father, uncle and two brothers at his old London home, after years of estrangement. In the intense conflict that follows, it is Ruth who becomes the focus of their struggle for supremacy.An exultant night a man in total command of his talent.' ObserverThe most intense expression of compressed violence to be found anywhere in Pinter's plays.' The TimesThe Homecoming can be seen as a Freudian play about sons filled with subconscious Oedipal desires. It can equally be seen as an ethological study of a group of human animals fighting over territory. Precisely because Pinter never moralises about or resolves the situation, it is a play that, when impeccably acted, continues to haunt our dreams.' Michael Billington, GuardianThe Homecoming premiered at the Aldwych Theatre, London, 1965.

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Book SynopsisThe first duty of a storyteller is to tell a story.' Or was it The only duty of a storyteller is to tell a story'?A writer in a totalitarian state is interrogated about the gruesome content of his short stories and their similarities to a number of child-murders that are happening in his town.''Sometimes you don''t even know what you''ve been craving until the real thing comes along.'' New York Times''McDonagh is more than just a very clever theatrical stylist. His tricks and turns have a purpose. They are bridges over a deep pit of sympathy and sorrow, illuminated by a tragic vision of stunted and frustrated lives.'' Fintan O''Toole, Irish TimesMartin McDonagh''s searingly brilliant play premiered at the National Theatre, London in November 2003. It was revived at the Duke of York's Theatre, London, in June 2023.

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Book SynopsisIn Poems to Perform, Julia Donaldson has chosen poems with performance by children in mind, and her notes and ideas on performing them are included in a special section at the end of the book.From the author of The Gruffalo, Julia's passionate belief that performance can help children enjoy reading and grow in confidence is informed by her own experience both as a child and now, working with groups of children to bring stories, poems and songs to life. The poems range from classics by Edward Lear, W H Auden and Eleanor Farjeon to contemporary work by Michael Rosen, John Agard and Clare Bevan. Illustrated throughout with exquisite, expressive lino-cuts by Clare Melinsky, this is a book for teachers, parents, children: anyone who loves great poetry.Trade ReviewThis is a book for teachers, parents, children; anyone who loves poetry - and anyone you want to encourage to love poetry. * parentsintouch.co.uk *A vibrant collection of poems perfect to be performed by two or more voices. * Families First NI *

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Book SynopsisThe action takes place in late August 1833 at a hedge-school in the townland of Baile Beag, an Irish-speaking community in County Donegal. In a nearby field camps a recently arrived detachment of the Royal Engineers, making the first Ordnance Survey. For the purposes of cartography, the local Gaelic place names have to be recorded and rendered into English. In examining the effects of this operation on the lives of a small group, Brian Friel skilfully reveals the far-reaching personal and cultural effects of an action which is at first sight purely administrative.

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Book Synopsis''Betrayal is a new departure and a bold one . . . Pinter has found a way of making memory active and dramatic, giving an audience the experience of the mind''s accelerating momentum as it pieces together the past with a combination of curiosity and regret. He shows man betrayed not only by man, but by time - a recurring theme which has found its proper scenic correlative . . . Pinter captures the psyche''s sly manoeuvres for self-respect with a sardonic forgiveness . . . a master craftsman honouring his talent by setting it new, difficult tasks'' New Society''There is hardly a line into which desire, pain, alarm, sorrow, rage or some kind of blend of feelings has not been compressed, like volatile gas in a cylinder less stable than it looks . . . Pinter''s narrative method takes what''s next? out of the spectator''s and replaces it with the rather deeper how? and why? Why did love pass? How did these people cope with the lies, the evasions, the sudden dangers, panic and the contradictory feelings behind their own deftly engineered masks? The play''s subject is not sex, not even adultery, but the politics of betrayal and the damage it inflicts on all involved.'' The TimesFirst staged at the National Theatre in 1978, Betrayal was revived at the Almeida Theatre, London, in 1991. Twenty years after its first showing, it returned to the National in 1998.

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Book SynopsisAn essential resource for anyone studying Princess & The Hustler by Chinonyerem Odimba for GCSE English Literature – featuring a complete guide to the text, plus sample questions and answers to help you prepare for assessment. Get to grips with Princess & The Hustler with expert, easy-to-follow breakdowns and analyses of key aspects of the play – including the characters, plot, structure, themes, setting and language – along with a clear explanation of the historical context. This guide also contains prompts for further reflection and research, to help you get the most out of your study and revision, whether at home or in the classroom. Featuring insights from playwright Chinonyerem Odimba, colour photographs of the original production, and extensive quotes and extracts from the text, this GCSE Study Guide will strengthen your understanding, build your confidence and boost your chances of success. It is also an invaluable resource for teachers approaching the play.

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Book SynopsisPrepare for the Cambridge IGCSE Drama 2022 syllabus with an approach that helps to create a varied, stimulating and enjoyable learning environment that enables students of different confidence and ability levels to flourish.Exam Board: Cambridge Assessment International EducationFirst teaching: 2020 First examination: 2022Be ready to teach the Cambridge IGCSE Drama syllabus with the second edition of this popular series.Have full confidence in the content and approach of the series which is written by a team of highly experienced authors, who have over 20 years of teaching experience.Enable students to learn a range of skills, such as how to build their self-awareness and how to reflect on their performance. This will build their knowledge and self-confidence, which extends beyond the course itself and helps equip them for life.Know that the series has an international feel in terms of both language used within the text, and plays, scenarios and contexts selected.Make use of the excellTrade Review.

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Book SynopsisTom Stoppard''s masterpiece, with a beautiful new cover. Comparing what we're looking for misses the point. It's wanting to know that makes us matter. Otherwise we're going out the way we came in.Arcadia premiered at the National Theatre, London, 1993, winning the Olivier Award for Best New Play and the Evening Standard Award for Best Play.It is a laugh-filled tragedy about what happens if you take the intoxicants of poetry and science seriously. It is a play where Stoppard turns himself into a clown whose juggling balls are Romanticism, Classicism, and the meaning of life . . . The stale cliché about Stoppard is that he is a brilliant manipulator of ideas, but with no heart. Yet here at the core of his best play is the greatest love story on the British stage for decades. Yes, the characters bond over ideas but some of the most interesting people in life do just that. That would be enough to make Arcadia a masterpiece but it is even more than that. The play stirs the most basic and profound questions humans can ask. How should we live with the knowledge that extinction is certain not just of ourselves, but of our species?' INDEPENDENTI have never left a new play more convinced that I'd witnessed a masterpiece.' DAILY TELEGRAPHA brilliant, brilliant play. A play of ideas, of consummate theatricality, of sophisticated entertainment and of heartache for time never to be regained.' SUNDAY TIMES

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Book SynopsisThis schools'' edition of Mark Haddon''s multi-award-winning novel adapted for the stage of the National Theatre by Simon Stephens is perfect for Key Stages 3 and 4. Featuring the play script from the Modern Plays edition but with the language adjusted for school use*, this edition includes a wealth of classroom activities for the English and drama classrooms.Christopher, fifteen years old, stands beside Mrs Shears''s dead dog. It has been speared with a garden fork, it is seven minutes after midnight, and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain and is exceptional at maths, but he is ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. But Christopher''s detective work, forbidden by his father, takes him on a frightening journey that turns his world upside-down.This educatioTrade Review. . . storytelling that is tender, dynamic, amusing and awe-inspiring - often all at once. * The Times *Simon Stephen's adaptation remains high tech and high quality. * Time Out London *. . . the best new play in town. * Sunday Express *

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Book SynopsisAttempts on her Life 17 scenarios for the theatre by Martin Crimp Attempts to describe her? Attempts to destroy her? Or attempts to destroy herself? Is Anne the object of violence? Or its terrifying practitioner? Martin Crimps 17 scenarios for the theatre, shocking and hilarious by turn, are a rollercoaster of late 20th-century obsessions. From pornography and ethnic violence, to terrorism and unprotected sex, its strange array of nameless characters attempt to invent the perfect story to encapsulate our time. Since its premiere 10 years ago, Attempts on her Life has been translated into more than 20 languages. This is its first major UK revival. Attempts on her Life 17 scenarios for the theatre by Martin Crimp

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Book SynopsisThis volume contains Harold Pinter''s first six plays, including The Birthday Party.The Birthday PartyStanley Webber is visited in his boarding house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare.''Mr Pinter''s terrifying blend of pathos and hatred fuses unforgettably into the stuff of art.'' Sunday TimesThe Room and The Dumb WaiterIn these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character.''Harold Pinter is the most original writer to have emerged from the new wave of dramatists who gave fresh life to the British theatre in the fifties and early sixties.'' The TimesThe HothouseThe Hothouse was first produced in 1980, though Harold Pinter wrote the play

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Book SynopsisWritten specifically for GCSE students by academics in the field, the Methuen Drama GCSE Student Editions provide in-depth explanatory material alongside the play texts frequently studied at Key Stage 4.Whether for use in the classroom or independent study, these editions offer a fully comprehensive and lightly glossed play text with accompanying notes specifically directed towards readers of this age, which unravel essential topics and challenge all students to delve further into literary analysis. Shelagh Delaney's modern classic A Taste of Honey is a comic and poignant exploration of class, feminism, race, sexual orientation and optimism in post-war Britain. Fifty years after its hit premiere, working-class Lancashire lass Jo's story continues to engage new generations of audiences.In addition to some on-page explanatory notes and the play text itself, this edition contains sub-headed analyses of themes, characters, context and dramatic devices, as Table of ContentsPrinciple areas of focus include: Historical, socio-cultural and theatrical context Information the playwright and other work by her Detailed analyses of ideas, themes, characters, narrative and dramatic techniques Analysis of characterisation Key literary, linguistic and theatrical/dramaturgical features of the text, including style, form, structure, plot, narrative, character, dialogue, theme and symbolism) Production histories and adaptations, including up-to-date reflections on key productions A variety of activities, designed to allow students to reflect upon their learning and understanding in both the classroom and at home Suggestions for related and wider reading This material is frequently underpinned by: - references to critical/scholarly perspectives on the play and playwright - pedagogical 'checkpoints' that will comprise opportunities for students to reflect upon, and assess, their knowledge and understanding of the text in relation to drama, literature, language This edition makes critical use of existing scholarship about the play and certain 'schools' and trajectories in which it has been read, including feminist theatre and post-war British realism. In interconnecting clear, engaging and scholarly information and readings with a variety of activities for students, this guide features a genuinely interactive and dynamic quality. It is designed to give the student reader confidence in developing their own responses and analysis of the play.

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Book SynopsisFor teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.Trade ReviewShakesFear and How to Cure It: The Complete Handbook for Teaching Shakespeare is written from the perspective of someone who has seemingly spent his entire adult life entrenched in the world of Shakespeare. Ralph Alan Cohen’s authority is undisputed, and as such, he conveys knowledge that is insightful, practical, and, above all else, immensely useful for teaching and learning. Cohen has taken his decades of experience and created a manual of sorts to help educators learn different (perhaps better) ways to approach teaching Shakespeare in the classroom … [Early] chapters show Cohen’s ability to connect and engage with the reader in a way that feels like talking with a colleague. The content is rich with practical and helpful advice, and his language is comfortable and easy to follow … A fantastic resource for educators. Although new(er) Shakespeare teachers will probably benefit the most, I do believe the book can provide new perspectives and ideas for experienced teachers as well. Cohen has a gift for communication, allowing ShakesFear to be accessible and useful to a wide audience. * American Reference Books Annual *What fun it must be to have Cohen as a teacher! ... [His] compelling book offers us a haven. * Times Higher Education *Table of ContentsPART ONE : The Teacher Chapter 1. How I Learned to Stop Worrying and Love the Bard Chapter 2. Seven Deadly Misconceptions Chapter 3: Ten Don’ts Chapter 4. Ten Do’s Chapter 5: Shakespeare Is Hard Chapter 6: Shakespeare Is Boring PART TWO: The Plays: 38 short chapters Annotated list of available video Index

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Book SynopsisNew revised 2020 version Set text for OCR GCSE 9-1 Drama exam This play tells the tragic true story of Dan Nolan, a teenage boy who went missing on the 1st January 2002 after a night out fishing with his best friends. The play explores the mystery of Dan’s disappearance and the tragic events that occurred that night; raising issues concerning personal safety and the importance of looking out for each other. A verbatim play, it uses only the words of his family, friends and the Detective Superintendent in charge of the police investigation. This revised 2020 edition of the play includes a new foreword reflecting on the original production by Mark, a new interview with the original cast and a new note on the original lighting design by Danny Sturrock. Suitable for: Key Stage 3/4, GCSE, BTEC, A-Level to adult 
Duration: 60 minutes approximately
 Cast: Up to 18, or 2 female, 2 male with doubling.
 "Heart-rending, bold, direct and simple. Even on the bare page this is a powerful piece of drama...” 
 Paul Fowler, GODA 2003
 "This play is not just about Dan Nolan, it's about all of us and our responsibility to and for each other."
 David Dykes, Head of Creative and Performing Arts, King Edward VI School, Southampton (Dan's former school)Trade Review"Heart-rending, bold, direct and simple. Even on the bare page this is a powerful piece of drama..." Paul Fowler, GODA 2003 "This play is not just about Dan Nolan, it's about all of us and our responsibility to and for each other." David Dykes, Head of Creative and Performing Arts, King Edward VI School, Southampton (Dan's former school)

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Book SynopsisGrowing up in Australia and the UK, Abigail often found herself covered in paint or flour, or lost in a book. After a BA in English and a PhD on Medieval Castles, she combined her interests writing Usborne children's books - from cookery, craft and castles to science and unicorns.

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Book SynopsisNo, Alice, I don''t want to become a man, I just want to stop trying to be a woman.It's New Year in Rotterdam, and Alice has finally plucked up the courage to email her parents and tell them she's gay. But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one.Now Alice must face a question she never thought she'd ask . . . does this mean she''s straight?A bittersweet comedy about gender, sexuality and being a long way from home.Rotterdam received its world premiere at Theatre503, London, in October 2015, before transferring to Trafalgar Studios, London, in May 2016. This volume contains introductory commentary and notes by Stephen Farrier from the Royal Central School of Speech and Drama, London. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, this volume contains:- an introductTrade Review(Rotterdam) speaks eloquently about a complex issue while at the same time being properly laugh-out-loud funny * Stage magazine *Table of ContentsThe introduction and commentary to the play will cover: Introduction to Author's Life and Work Contexts: historical, political and social (focusing on sexuality and gender, and including terminology) Themes: identity, intergenerational relationships, secrets and truth-telling, friendship Dramaturgy and Genre Production History and Reception Scene-by-Scene Summary Play-text Further Reading

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Book SynopsisRoald Dahl fans will rejoice at the opportunity to bring their favorite books and characters to life. Five of Dahl’s hugely popular, beloved books have been adapted into winning plays for children. With useful tips on staging, props, and costumes, these plays can be produced with a minimum amount of resources and experience. Teachers, parents, and children everywhere will recognize Quentin Blake’s appealing classic cover art and will find these easy-to-perform plays to be a great source of entertainment!

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Book SynopsisGrounded in theory and research, with links to teaching practice, Education in the Arts helps students apply what they are learning to new contexts, and encourages them to become reflective and mindful practitioners. Students can continue to use this book as they become practising teachers, drawing on how to implement the various arts practices in a school setting. Lecturer Resources:Additional case studies to use with your students.Table of ContentsPart One: Key PrinciplesTeaching with Art in Mind John O’Toole, Mary Ann Hunter, Chris Sinclair and Neryl JeanneretThe Arts, Creativity and PlayJohn O’TooleLearning in the ArtsNeryl JeanneretArts Education as Intercultural and Social DialogueKate DonelanGeneral Capabilities and Multiple LiteraciesJohn O’TooleTeaching for the Aesthetic, Teaching as AestheticChristine SinclairShower Singing and Other EssentialsJulia ReidPart Two: Teaching the ArtformsDance: Art EmbodiedJan Deans, Jeff Meiners, Sarah Young and Katrina RankDrama: Social Dreaming in the 21st CenturyJane Bird, Kate Donelan and Christine SinclairMedia ArtsMichael DezuanniMusic in the Primary ClassroomNeryl Jeanneret, Jennifer Stevens-Ballenger, Sue ArneyLearning in and through the Visual ArtsRobert Brown, Marnee Watkins and Gina GrantPart three: integrating and applying the artsLearning and Teaching through the ArtsPam Macintyre, Richard Sallis, Robert Brown and Paul MolyneuxIntegrating the ArtsDavid Kelman, Marnee Watkins, Jennifer Stevens-Ballenger and Christine SinclairPart Four: Arts and CommunitySupport and Partnerships for the TeacherNeryl Jeanneret, John O’Toole and Chris SinclairWhat Can Mindful Educators Learn from Artists who Work with Children?Mary Ann Hunter and Robert BrownThe Arts and Teaching for DiversityJo Raphael and Mary Ann Hunter

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Book SynopsisA year of drama ready to use schemes at your fingertips. 25 topical schemes of work 100+ drama lessons ''This book really will offer some new and exciting ideas for teachers to teach. Even teachers who enjoy their job often complain that they become stale after teaching the same things every year. They look for new ideas that will reignite their enthusiasm. I think this book could offer some sparks''Jo Howells, English Advisor, Warwickshire Educational Development ServiceLooking to engage, enthral and educate your pupils in timely and topical drama- based activities? In need of dynamic and inventive cross-curricular exercises for single lessons, extended units or school assemblies? From the September blues of change, through Great FiTable of ContentsIntroduction: Professor Jonothan Neelands; Author’s Introduction; Notes on planning for drama (Twelve Techniques); The Schemes; After word; Further Reading

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Book SynopsisDorothy Heathcote MBE was a unique educator whose practice had a vital influence on the international development of Drama in Education. For more than half a century she inspired generations of teachers and educators all over the world by her original and authentic approach to teaching and learning. This new collection of the essential writings of Dorothy Heathcote traces the development of her practice over her long professional life. It combines the most important and influential articles from the first edition with more recent pieces to show the significant development in Heathcote's thinking and practice. The book reveals the increasing complexity of her engagement with Mantle of the Expert as an approach to the curriculum and revisits earlier themes that are central to her work in such pieces as Productive Tension and Internal Coherence. In everything she writes she is concerned with introducing teachers to the power of drama as a means of activating the cuTable of ContentsSection One - Teachers and Teaching Excellence in Teaching, Subject or System, Creativity Section Two – Drama in Practice Introduction, Notes on Drama, Drama and learning, Productive Tensions, Chamber TheatreApproaching Hamlet, Signs and Portents, Notes on Signs and Portents, Meeting Dr. Lister, Conventions in Mantle of the Expert, The Authentic Teacher and the Future, Section Three - Mantle of the Expert IntroductionMantle of the Expert - Key Elements, Contexts for Active learning, Using Stories in Mantle of the Expert, Encounters with Power Givers and Power Takers

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Book SynopsisAlice Dreaming is a play for secondary students that tells a uniquely Australian story. Designed to provoke discussion and debate, Alice Dreaming can be used as a classroom resource to develop student thinking around both personal issues and social issues, including the environment, politics and Australian history.

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Book SynopsisIt was with this play that Harold Pinter had his first major success, and its production history since it was first performed in 1960 has established the work as a landmark in twentieth-century drama.The obsessive caretaker, Davies, whose papers are in Sidcup, is a classic comic creation, and his uneasy relationship with the enigmatic Aston and Mick established the author''s individuality with an international audience.

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Book SynopsisA young lawyer''s involvement in her first case leads her through a criminal justice system - police, courts and prisons - which is cracking at the seams.Murmuring Judges is the second play in David Hare''s highly acclaimed trilogy about British institutions. Racing Demon, which won four awards as Play of the Year in 1990, was the first part of the trilogy and examined the Church. The Absence of War, a play about the Labour Party, completed the trilogy.

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Book Synopsis''Believe me, my young friend, there is absolutely nothing half so much worth doing as simply messing about in boats. In them or out of them, it doesn''t matter. Whether you get away or you don''t, whether you arrive at your destination or whether you never get anywhere at all, you''re always busy.''Ever since the publication of Kenneth Grahame''s novel in 1908, the characters of Ratty, Mole, Toad and Badger have delighted generations of readers. Now Alan Bennett has written an adaptation for the stage, a version which is both true to the original and yet carries that distinctive Bennett hallmark.Alan Bennett introduces this edition, writing about the history of the project and the staging of the production.''Bennett is even able to inject the odd sly joke for the adult without bewildering the tots... the result is a delightful evening, a treat for anyone.'' The Times

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Book SynopsisViewed through the eyes of those on the ground, Black Watch reveals what it means to be part of the legendary Scottish regiment, what it means to be part of the war on terror, and what it means to make the journey home.This book contains Gregory Burke''s award-winning script, with production notes by the director John Tiffany.The National Theatre of Scotland''s production of Black Watch opened at the Edinburgh Festival Fringe in 2006, where it won a Herald Angel, a Scotsman Fringe First, the Critics'' Circle Award and the South Bank Show Award for Theatre. During a world tour it won the Laurence Olivier Award for Best New Play and the New York Drama Critics'' Circle Award for Best Foreign Play.

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Book SynopsisSlowly I learnt the ways of humans: how to ruin, how to hate, how to debase, how to humiliate. And at the feet of my master I learnt the highest of human skills, the skill no other creature owns: I finally learnt how to lie.Childlike in his innocence but grotesque in form, Frankenstein''s bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.Frankenstein, based on the novel by Mary Shelley, premiered at the National Theatre, London, in February 2011.

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Book SynopsisA profound, luminous masterpiece by one of Ireland''s greatest playwrights.This edition was published in 2023 with a beautifully redesigned text and cover, to coincide with the National Theatre'' revival. It is 1936 and harvest time in County Donegal. In a house just outside the village of Ballybeg live the five adult Mundy sisters; their older brother, a missionary priest returned from Uganda; and the youngest sister's seven-year-old son, Michael. Over the course of two days in the family's life, Brian Friel evokes not only the interior world of a group of human beings trapped in their domestic situation, but the wider landscape public and private, Christian and pagan of which they are nonetheless a part.There is no doubting we are in the thrall of as masterly a dramatist as the theatre possesses.' The Times

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Book SynopsisOliver really wants to play a princess in Ariana's story. He stops, confused, when some of the other boys laugh. But when Noah, the new boy, refuses to take any notice of the laughter, Oliver discovers that there is another way... This beautifully illustrated story book explores a common situation that arises for children and teachers taking part in Helicopter Stories and allows the children to explore their feelings in a sensitive and supportive environment. The story is accompanied by teacher's notes on how to use the book with young children along with questions and discussion prompts that can be incorporated into the curriculum. In a class where Helicopter Stories take place on a regular basis, It's Only Pretend explores issues around gender that might come up in story acting. It is part of the Helicopter Stories Tale series, a valuable and visually captivating resource for all Early Years educators using storytelling and story acting with their childTrade Review"These picture books bring to life the magic of Storytelling and Story Acting. The authentic examples and quandaries are compelling. Trisha gives advice based on her vast experience but also includes the voice of Vivian Gussin Paley herself. This book will be an invaluable resource for anyone who is developing the art of Helicopter Stories in their setting." Anna Ephgrave has written five books around the topic of "Planning in the Moment". "Childhood deserves to spend its days in an immersive world of story and make-believe, and yet again, Trisha shows us how. The rich possibilities she has created here enable an exploration, not only of Helicopter Stories, but of who we are in the kingdom of play. A true adventure awaits you within its pages.Holding hands with Trisha’s words are the wonderful illustrations of Amie Taylor, that turn up the dial of imagination and invite us in to story dream even more" Greg Bottrill, author of Can I Go and Play Now – Rethinking the Early Years and School and the Magic of Children "Trisha Lee has written a lovely, accessible set of stories that can be dramatized through the Vivian Gussin Paley method. It is set in Fiona Fable's classroom who knows that every child has a story inside them, and her job is to find a way to let those stories out. These stories bring to light the importance of children being able to tell their stories right here and right now. It’s a beautiful and natural way of allowing children to address their worries, share their ideas and catch a glimpse of their imaginations. We have used this approach for many years at LEYF and it has made us so much more alert to the power of storytelling. Everyone has a story, and this book gives you the tools to make this part of your daily life of any classroom. It tells the teacher to watch very carefully, and you will see the children’s stories dancing through the air. It is joyful."June O’Sullivan, CEO of London Early Years Foundation and author of numerous publications about the Early Years.Table of Contents1) Introduction2) Story Spread3) Teachers Notes

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Book SynopsisThis book offers a creative and practical guide for K-6 teachers on how to effectively integrate movement into the curriculum to increase student engagement, deepen learning, improve retention, and get kids moving during the school day.Chapters offer concrete ideas for integrating creative movement and theater into subjects such as math, science, literacy, and social studies. Drawing on two decades of experience, Dr. Becker outlines key skills, offers rich examples, and provides adaptable and flexible classroom tested lesson plans that align with Common Core Standards, the NGSS, C3 Social Studies Standards, and the National Core Arts Standards. Activities are grounded in arts integration, which is steadily gaining interest in school reform as an effective teaching strategy that increases student outcomes academically and sociallyparticularly effective for students who have traditionally been marginalized.This book will benefit practicing educators who want to invigoratTable of Contents1. Introduction: Let’s Get this Moving! 2. Getting Ready to Move 3. Setting the Stage for Success 4. Leaping for Literacy 5. Moving Through History 6. Moving Math 7. Science in Motion: Don't Lose STEAM! 8. Moving Toward Authentic Assessments Using the Arts

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Book SynopsisThis classic edition of Mike Fleming's The Art of Drama Teaching provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of detailed discussion of twenty-five drama techniques including but not limited to: beginnings and endings monologue and narration off-stage action and reported action mime irony time shifts minor characters Each technique, topic or convention is illustrated by a carefully chosen extract from a play and accompanied by a commentary and practical examples of lesson tasks.This book not only demonstrates drama as an art form and provides ready-to-use material for drama teachers, but highlights how dramatic techniques can be used to inform classroom teaching and develop teacher practice. Featuring a brand new preface by the author to contextualise the book within thTable of ContentsIntroduction to the Classic Edition Acknowledgements Introduction 1. Alternative Perspective (Priestley, An Inspector Calls) 2. Analogy (Brecht, Galileo) 3. Beginnings (Chekhov, Three Sisters) 4. Counterpoint (O'Casey, The Plough and The Stars) 5. Endings (Wertenbaker, Our Country's Good) 6. Exposition (Ibsen, Hedda Gabler) 7. Externalising Inner Conflict (Marlowe, Dr Faustus) 8. False Identity (Rattigan, Separate Tables; Shakespeare, Othello) 9. Framing Action (Miller, The Crucible) 10. Incongruity (Churchill, Top Girls) 11. Irony (Shakespeare, Macbeth) 12. Mime (Shaffer, The Royal Hunt of the Sun) 13. Minimal Context (Beckett, Waiting for Godot) 14. Minor Characters (Stoppard, Rosencrantz and Guildenstern are Dead) 15. Monologue (Bennett, A Chip in the Sugar) 16. Narration (Bolt, A Man for all Seasons) 17. Object Focus (Galsworthy, The Silver Box; Wilde, Lady Windermere's Fan; Shakespeare, Othello) 18. Off-Stage Action (Ayckbourn, Absurd Person Singular) 19. Pause (Pinter, Betrayal) 20. Play Within A Play (Shakespeare, A Midsummer Night's Dream) 21. Reported Action (Sophocles, Oedipus) 22. Ritual (Yeats, On Baile's Strand) 23. Time Shift (Miller, Death of a Salesman) 24. Unspoken Thoughts (Friel, Philadelphia, Here I Come) 25. Voices (Shaffer, Amadeus; Thomas, Under Milk Wood; Shakespeare, King Richard III; Eliot, Murder in the Cathedral)

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Book SynopsisThe revised second edition of this practical manual is filled with easy-to-follow exercises and activities designed to facilitate creative drama sessions for people with learning difficulties. The activities in this book bring together music, theatre, movement and storytelling to not only develop fun and engaging group sessions, but to build confidence, increase self-esteem, and develop social and emotional awareness in group members. Highly sensitive to the range of learning needs and physical abilities of group members, the activities have been created to be engaging for a broad range of individuals regardless of age and ability, and can be adapted for use in a multitude of sectors such as education, psychology and speech and language therapy. Key features of this edition include: New chapters exploring mindfulness, and the importance of reflection Fully photocopiable resources including a session notes template to evaluate the impact of the creative drama group anTrade ReviewWhether new to running drama groups or an experienced drama professional this book is both useful and practical. It gives a valuable introduction to the challenges of working creatively with people with learning disabilities, followed by a structured series of chapters which provide a wealth of warmup activities, games, drama exercises, improvisations and stories to use on a on-going basis. Anna Chesner brings her many years of practical knowledge, skill and expertise into a highly practical book that can be used by practitioners from a range of backgrounds in all kinds of community settings.Dr Clive Holmwood, Department of Therapeutic Arts, University of Derby. It is very important that this book is available to contemporary teachers, practitioners and parents. The book sparkles with energy and imagination. A gift to us all as we work against cuts and a lack of resources. It is a sustainable book and a beam of light in our practice.Prof.Dr Sue Jennings, Distinguished Scholar University of the Witwatersrand Table of ContentsARRIVALS AND GREETINGS BODY WORK SENSORY WORK VOICE WORK LIFE SKILLS GAMES PUPPETS IMPROVISATION DRAMATISATION FAIRY TALES PERFORMANCE DE-ROLING CLOSURES EVALUATION

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Book Synopsis

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Book Synopsis

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Book SynopsisAustralia 1789. A young married lieutenant is directing rehearsals of the first play ever to be staged in that country. With only two copies of the text, a cast of convicts, and one leading lady who may be about to be hanged, conditions are hardly ideal...Winner of the Laurence Olivier Play of the Year Award in 1988, and many other major awards, Our Country''s Good premiered at the Royal Court Theatre, London, in 1988 and opened on Broadway in 1991. ''Rarely has the redemptive, transcendental power of theatre been argued with such eloquence and passion.'' Georgina Brown, Independent It is published here in a new Student Edition, alongside commentary and notes by Sophie Bush.The commentary includes a chronology of the play and the playwright's life and work as well as discussion of the social, political, cultural and economic context in which the play was originally conceived and created.Trade ReviewWertenbaker has searched history and found in it a humanistic lesson for hard modern times: rough, sombre, undogmatic and warm * The Sunday Times *Highly theatrical, often funny and at times dark and disturbing, it sets an infant civilization on the stage with clarity, economy and insight. -- Charles Spencer * Daily Telegraph *Wertenbaker's play remains terrifyingly relevant … Wertenbaker scarcely puts a foot wrong. She … expands the argument about the practical wisdom of putting on a play into a wider debate about crime and punishment and, when an actor-convict on the eve of hanging breaks her self-incriminating vow of silence, movingly demonstrates the power of drama to change minds. -- Michael Billington * Guardian *Table of ContentsCommentary Chronology: ­ A timeline of Wertenbaker’s life and works, set alongside key theatrical, social and political events of the period. Contexts: - The 1780s: Attitudes to Crime and Punishment; The First Fleet and the Penal Colony of New South Wales; Theatrical Styles and Conventions; The Recruiting Officer - The 1980s: Attitudes to Crime and Punishment; Theatre Funding; The Royal Court, Max Stafford-Clark and the ‘Joint Stock Method’; The Playmaker - Timberlake Wertenbaker Themes: - Guilt and Innocence; Punishment, Rehabilitation and Redemption; The Value of Theatre; Language, Silence and Voice; Colonialism Dramatic Devices: - Language(s): Regional Dialects; Articulacy and Inarticulacy; The Aborigine - Episodic Structure - Theatrical Style: Multi-roling and Cross-casting; Brechtian Aesthetic - Options for Design Production History - A Timeline Critical Reception - Critical response, recognition and influence - The Play Today Academic Debate: ­ A brief discussion of academic responses to the play Further Study: A bibliography of texts for further study - A discussion of Comparative Literature (by Wertenbaker and others) PLAY TEXT - OUR COUNTRY'S GOOD

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Book SynopsisWritten in 1836, Woyzeck is often considered to be the first truly modern play.The story of a soldier driven mad by inhuman military discipline and acute social deprivation is told in splintered dialogue and jagged episodes, which are as shocking and telling today as they were when first performed, almost a century after the author''s death, in Munich 1913.This edition contains introductory commentary and notes by Laura Martin from the University of Glasgow. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: A chronology of the play and the playwright's life and work an introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created a succinct overview of the creation processes followed and subsequent performance history of the piece an analysis of, and commentary onTable of ContentsChronology Commentary: Historical and Social Contexts The Manuscripts Character and Caricature Genre and Themes: Social Drama, Madness, Existential Terror and Tragedy, The ‘Double Nature’ of the Human Animal, The Problem of Marie Conclusion The Play as Performance Academic Debate Publication and Production History Further Exploration WOYZECK Notes

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Book SynopsisToo frightened of scandal to become involved with a brilliant writer, Hedda Gabler opts instead for a conventional but loveless marriage. But, when her first love returns with a masterpiece that might threaten her husband''s career, Hedda decides to take drastic and fatal action.Universally condemned in 1890 when it was written, Hedda Gabler has subsequently become one of Ibsen''s most performed and studied plays. Blending comedy and tragedy, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a backdrop of contemporary social Habits and hypocrisies.This Methuen Drama Student Edition is published with Michael Meyer's classic translation, and with commentary and notes by Dr. Sophie Duncan. These offer a contemporary lens on the play''s gender politics, and consider some key twentieth and twenty-first century productions of Hedda Gabler, which include actresses like Maggie Smith, Harriet Walker, and Ruth Wilson taking on tTrade ReviewThe production of an Ibsen play impels the inquiry, What is the province of art? If it be to elevate and refine, as we have hitherto humbly supposed, most certainly it cannot be said that the works of Ibsen have the faintest claim to be artistic. We see no ground on which his method is defensible...Things rank and gross in nature alone have place in the mean and sordid philosophy of Ibsen. * Excerpt from an original review, 1890s, Saturday Morning Review *Table of ContentsChronology COMMENTARY Cultural and Theatrical Contexts Theatrical Style Themes Characterisation Setting Translation Performance History Scholarly and Popular Debate Further reading and viewing HEDDA GABLER Notes

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Book SynopsisThis abridged edition is designed for schools and has been adapted for 10 actors playing all of the roles. With a running time of just 90 minutes it is suitable for performance in non-theatre spaces, with minimal technical requirements.The Curious Incident of the Dog in the Night-Time brings Mark Haddon''s best-selling novel to life on stage, adapted by two-time Olivier Award-winning playwright Simon Stephens. Winner of seven Olivier Awards including Best Play, along with the Drama Desk, Outer Critics Circle, Drama League and Tony Awards for Best Play, this remarkable and exhilarating theatrical masterpiece originated at London''s Royal National Theatre in 2012 before going on to transfer to the West End for multiple seasons, followed by its acclaimed Broadway run. The play has now been seen on five continents around the world with major productions ranging from Mexico, Australia, Canada, Seoul and Japan. This brand new edition of the play has been abridged specifically with schTrade ReviewPlaywright Simon Stephens . . . not only frames the action, but also sets up a rich tension between fiction's invention and the obsession with facts, forensics and systemised data that is a symptom of Christopher's autism . . . this is a highly skilful adaptation -- Michael Billington * Guardian *A curiously successful case of a hit novel turned into a play . . . This is a profoundly moving play about adolescence, fractured families, mathematics, colours and lights -- Michael Coveney * Independent *This adaptation by the acclaimed playwright Simon Stephens is intensely, innately theatrical; it is also funny and extremely moving -- Laura Thompson * Daily Telegraph *Seeing an adaptation of a book that you have loved can inspire a certain nervousness but fans of A Curious Incident should have no such worry when going to see the National’s faithful and imaginative adaptation. It is a triumph, capturing the depth and touching nature of the original text and adding theatrical sensibilities to great effect. Highly recommended. * Londonist *As adaptations of much-loved fiction go, Simon Stephens' perky and imaginative version . . . is an instant classic * What's On Stage *Simon Stephens' clever adaptation of Mark Haddon's bestselling novel about a teenage boy with Asperger's syndrome is like a cute dog that leaps up and wants to lick you all over. There's no point in resisting – and there's no need ... The novel gets you inside Christopher's head, but the stage version does more, giving Christopher's internal response to the world an external manifestation -- Lyn Gardner * Guardian *This is a really superior stage adaptation. Instead of just transposing the book. Stephens has recreated it for the stage. . . It doesn't shirk the discomfort of being a child with special needs, but –as Christopher learns to believe in himself- it also quietly illustrates some of the excitement of living in your own world -- Aleks Sierz * Tribune *A bittersweet story told with verve and passion -- Siobhan Murphy * Metro *

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Book SynopsisAfter all, who has the right to cast a stone against one who has suffered? Cannot repentance wipe out an act of folly? Why should there be one law for me and another for women?Wilde''s ''trivial play for serious people'', a sparkling comedy of manners, is the epitome of wit and style. This brilliantly constructed satire with its celebrated characters and much-quoted dialogue turns accepted ideas inside out and is generally regarded as Wilde''s masterpiece. This Methuen Drama Student Edition of the play includes commentary and notes by Lucie Sutherland, Assistant Professor in Drama at the University of Nottingham, UK, which investigate the play through a contemporary lens, bringing in the contributions from queer scholarship and discussions of recent productions of the play.Trade ReviewComes as close to perfection as any comedy I can think of. * Daily Telegraph *Oscar Wilde's best-known work always had a claim to be the wittiest play in the English language. * Financial Times *There is a real need for an updated, student-focused edition of this much taught play. * Jenny Stevens, author and series editor *A fresh new edition of a theatrical favourite that fully evinces the contemporary appeal of Wildean theatre. * Chris Megson, Reader in Drama, Royal Holloway, University of London *The play isn’t going anywhere, and Lucie’s expertise and proposed coverage look ideally suited to ‘free up’ the play from the grip of English Literature study and debate, and give something that Drama teachers can meaningfully engage with. * Matthew Nichols, Head of Drama at Manchester Grammar School, UK *Table of ContentsCHRONOLOGY COMMENTARY Context Themes Dramatic Devices Structure Language Performance History Behind-the-Scenes: Practitioner Interview Critical Reception and Academic Debate Suggestions for Further Study THE IMPORTANCE OF BEING EARNEST NOTES

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Book SynopsisThe stage of the 1700s established a star culture, with the emergence of such acting celebrities as David Garrick, Susannah Cibber, and Sarah Siddons. It placed Shakespeare at the heart of the classical repertoire and offered unprecedented opportunities to female actors. This book demonstrates how an understanding of the practice and theories circulating three hundred years ago can generate new ways of studying and performing plays of all kinds in the present.Eight short essays on emotions, cultivation, character, voice, action, company, audience, and reflection provide two things: a vivid introduction to the practice and ideas of the eighteenth-century stage, and the story of how these past practices and ideas were used in collaborative workshops around the UK to create new rehearsal exercises. Designed to work alone or in combination, these exercises are also open to further adaptation and analysis as part of a work that treats theatre writers of the past as potential collabTrade ReviewAn original, learned, and practical book, which not only brings the theatre of the eighteenth century to vibrant and immediate life, but also makes Garrick's theatre useful to the theatre of today. A hugely enjoyable and absorbing study of a long-neglected and underrated era of theatre history. * Tom Littler, Artistic Director, Orange Tree Theatre *The strength of this book is that it covers in an innovative and creative way a still-neglected and under-researched area of theatre history: the art and training of the actor in the 18th century. It collates, and comments upon, a range of varied texts on how the actor trained, and the theory of acting, from the 18th century in such a way as to interest a number of audiences: the theatre historian, the 18th century literary critic, the drama student at university, the professional actor-in-training and the actor trainer. It suggests an innovative practical method of researching through practice with theatre practitioners, which brings to life and implicitly argues for the on-going usefulness and interest of the material ... This book brings 18th century theatre theory into the rehearsal room and shows contemporary actors both how actors thought about their craft in the past, but also shows how their exercises and thinking can be used today by directors and actors. The idea is that 18th century ideas about acting can still be relevant and useful to actors today – or can be a starting point for exploring both 18th century plays and plays of today ... It is a refreshing and innovative approach to being open-minded about acting practices of the past, trying them out ‘on the floor’ and discovering more about how actor moved, spoke and imagined themselves into plays in the past, making these approached available to us today for experimentation and illumination. * Professor Liz Kuti, University of Essex, UK *Effectively the first in-depth examination of the theory and practice of acting /directing in the long eighteenth century. Given that post-1660 women were for the first time permitted to act on stage in England, the author’s strong interest in examining both the significance of the change and its analysis by female actors – as well their male counterparts – is of great importance: for this change alone would slowly alter the way in which gender representation was enacted and the way in which questions of responsibility/status began to shift. This latter point is particularly significant in what the author has to say about the emergence of a star system. It is offering a combination of the historical and the contemporary in a way that is unprecedented, and is very different from the approach taken by excellent theatrical historiographers such as Thomas Postlewait, whose efforts are concerned with attempts to recover the past, rather than connecting that past with the present. * Professor John Bull, University of Reading *Peeling back the celebrity gloss, this book delves into the performance practice that thrilled 18thc theatre audiences, offering a range of exercises for the modern performer seeking to bring all kinds of plays to life today. * Gilli Bush-Bailey, Professor Emerita University of London, Royal Central School of Speech and Drama, UK *The focus on collaboration between academic research/theory and practical application is the best part of the proposed work. The note that these methods can be then customized and further developed to suit someone’s needs, even outside the specialization of 18th century theatre, promises to be a useful tool in teaching acting ... The publication of this book would provide a new way of examining and embodying a specific historical period and its theatrical style. * Professor Nelson Barre, Roanoke College, US *The volume would be a welcome and significant enhancement of this area, building on and alongside projects such as Richard Schoch and Amanda Winkler’s Performing Restoration Shakespeare ... [This book] has the potential to be an invaluable teaching and research resource ... Both the subject matter and the methodological approach are sound and deserve wider dissemination. More publications which truly blend theatre history and practice are sorely needed. * Dr Oliver Jones, University of York, UK *Table of ContentsIntroduction The Essays: Emotion Cultivation Character Voice Action Company Audience Reflection The Exercises: Garrick’s Scale Dramatic Gesture Attitudes Type and Scenario Proteus False Tone Cue-Script Macklin’s Garden Emphasis Universal Expression Five Rooms The Hiss Great Sensibility Clairon’s Model Appendix Works Cited Index

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Book SynopsisQueen Victoria''s Golden Jubilee, 1887. At East London''s Tilbury Docks, Rani Das and Abdul Karim, step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen; the other forges an astonishing entanglement with the ageing Queen Victoria who finds herself enchanted by stories of an India over which she rules, but has never seen. Through narrative, music and song, The Empress blends the true story of Queen Victoria's controversial relationship with her Indian servant and Munshi' (teacher), Abdul Karim, with the experiences of Indian ayahs who came to Britain during the 19th century. With private romance being mapped onto world history, the action cuts between the ship and different royal residences, offering bright contrasts as well as surprising affinities. In doing so, the play uncovers remarkable unknown stories of 19th-century Britain and charts the growth of Indian nationalism and the romantic proclivities of one of Britain''sTrade ReviewGupta's play records the rage felt at the injustices of imperial domination. * Guardian *The epic journey of the five characters in The Empress is not only magical and intoxicating, but historically enlightening. * Birmingham Mail *Table of ContentsChronology COMMENTARY PLAYWRIGHT CONTEXT 1. Late-19th-century imperial context 2. Context within which the play was written and rehearsed in 2012/13 3. RSC’s commissioning strategy for new plays THEMES 1. Class 2. Race 3. Gender 4. Religion 5. British Empire CHARACTERS (HISTORICAL & FICTIONAL) & CHARACTERISATION DIALOGUE DRAMATIC DEVICES 1. RSC production: sets, costumes, role of instrumental music and song 2. Use of short scenes to create a visual and textual mosaic RESPONSE Audience and press response PLAY TEXT FURTHER READING AND VIEWING

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Book SynopsisIs 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 Trade ReviewMajumdar’s processes sound more like those of a detective or an investigative reporter than a writer observing the world from a garret. For his Kashmir plays, he spent time in police bunkers and the dens of militants. For Pah-La, he decided he had to go to Lhasa, whatever the cost. * Arifa Akbar, The Guardian *For 15 years, Abhishek Majumdar has created plays on the fragility of human lives trapped in war and other upheavals. * Indian Express *Majumdar has behind him a remarkable body of work. His plays sweep a wide arc – they have dealt with generational angst, the dark goings-on at a monastery in 8th century, the trauma of wasted childhood, the politics of food, and the heart of extremist violence. But at their core, they always talk of humanism and its fight against tyranny and greed. * Scroll Magazine *Abhishek Majumdar’s book is a thrilling read, crossing continents, entering conflicts, and always informed by a questing fusion of art and politics. It is an essential map to how playwriting and play-making might reflect the fractured world we share. * Steve Waters, playwright *Table of ContentsAcknowledgments Table of Contents Introduction: Travels and Questions HOME The Quest for Tradition Language of Theatre The Enterprise AWAY Brecht in Kashmir The Kashmir Trilogy The Writing of Pah-la: A Theatre Journey across the Roof of the World Devising in the Tibetan Transit School Reading George C Wolfe’s The Coloured Museum In a New York Subway Hamidur Rehman: A Journey through Bangladesh and Germany. A Journey about a Journey OTHER GEOGRAPHIES Lessons in Pausing: From a theatre in West Africa to a Monastery in the Himalayas On Censorship The Pandemic and the Theatre Bibliography

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Book SynopsisAnthony Neilson''s 2004 play is half a lark, half deadly serious' TIME OUTA profane, madcap, Alice-in-Wonderland trip morphs into something much more profound in Anthony Neilson's weirdly compelling 2004 study of mental instability' EVENING STANDARD Lisa Jones is on a journey. It''s a colourful and exciting off-kilter trip in search of one lost hour that has tipped the balance of her life. The inhabitants of the wonderful world she finds herself in Dissocia are a curious blend of the funny, the friendly and the brutal. This Student Edition of Anthony Neilson's 2004 play, which premiered at the Edinburgh International Festival, features a commentary and notes by anna six. It introduces students to debates surrounding mental health and situates Neilson within a British theatrical tradition, including through an interview with him.Table of ContentsChronology History Form Politics Genre Production History PLAYTEXT Interview with Anthony Neilson Notes Further Reading

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