Joan's Book: The Autobiography of Joan Littlewood: Theatre Makers
Autor Joan Littlewood Introducere de Philip Hedleyen Limba Engleză Paperback – 28 iul 2016
Along with Peter Brook, Joan Littlewood, affectionately termed 'The Mother of Modern Theatre', has come to be known as the most galvanising director of mid-twentieth-century Britain, as well as a founder of so many of the practices of contemporary theatre. The best-known work of Littlewood's company, Theatre Workshop, included the development and premieres of Shelagh Delaney's A Taste of Honey, Brendan Behan's The Hostage and The Quare Fellow, and the seminal Oh What A Lovely War.
This autobiography, originally published in 1994, offers an unparalleled first-hand account of Littlewood's extraordinary life and career, from illegitimate child in south-east London to one of the most influential directors and practitioners of our times. It is published along with an introduction by Philip Hedley CBE, previously Artistic Director of Theatre Royal Stratford East and Assistant Director to Joan Littlewood.
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 254.66 lei 6-8 săpt. | |
| Bloomsbury Publishing – 28 iul 2016 | 254.66 lei 6-8 săpt. | |
| Hardback (1) | 862.94 lei 6-8 săpt. | |
| Bloomsbury Publishing – 28 iul 2016 | 862.94 lei 6-8 săpt. |
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Specificații
ISBN-13: 9781474233224
ISBN-10: 1474233228
Pagini: 600
Dimensiuni: 150 x 226 x 28 mm
Greutate: 0.88 kg
Ediția:4
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Theatre Makers
Locul publicării:London, United Kingdom
ISBN-10: 1474233228
Pagini: 600
Dimensiuni: 150 x 226 x 28 mm
Greutate: 0.88 kg
Ediția:4
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Theatre Makers
Locul publicării:London, United Kingdom
Recenzii
The tumult of [this book] is testimony to one of the great creative forces of our time. Like the Shakespearean character with whom she has most in common, she has, in her way, once again voiced her own unanswerable demands, betraying neither 'faith, truth nor womanhood' in the process.
This is a book that anyone who works in the theatre, loves the theatre or hates the theatre, is under absolute obligation to buy. Joan Littlewood is the greatest theatre director of the present century, knocking possible rivals like Max Reinhardt and Jean-Louis Barrault into a cocked hat when it comes to intelligence, originality and the incalculable influence for good she has had on theatre all over the world.
You do not have to be even halfway interested in theatre to relish this welter of a book. It is compulsive, elusive and maddening. Read it.
[This book] is big: nearly eight hundred pages. But then so is her life. For Joan Littlewood's unorthodox autobiography is a noisy, rumbustious, compulsively readable account of her attempt to create, through Theatre Workshop, something unseen in Britain since Shakespeare's day: a high-quality popular theatre. What emerges is a graphic contradictory portrait of a brilliant, restless animateur: a romantic revolutionary with a strong streak of Cockney common sense. You put down this turbulent, often moving book reflecting that the greatest paradox of all is that, although this particular Pope Joan has no children, she has left her indelible imprint on British theatre and has bequeathed us countless heirs.
It's as if she's talking to you, the reader - and she could certainly talk. All her prejudices and insecurities are here. But so is her extraordinary life-giving energy. She could touch genius.
This exhilarating autobiography, abrasive, impudent, grossly opinionated, and like her best theatre work, a fine piece of popular entertainment.
This is not a tidy elegant memoir, but it is a rather wonderful one. [It's] funny, generous, warm-hearted, irreverent and bawdy . . . a memoir that ought to become a classic of the kind she admires - vital, energetic, full of hope and riotous laughter.
This is a book that anyone who works in the theatre, loves the theatre or hates the theatre, is under absolute obligation to buy. Joan Littlewood is the greatest theatre director of the present century, knocking possible rivals like Max Reinhardt and Jean-Louis Barrault into a cocked hat when it comes to intelligence, originality and the incalculable influence for good she has had on theatre all over the world.
You do not have to be even halfway interested in theatre to relish this welter of a book. It is compulsive, elusive and maddening. Read it.
[This book] is big: nearly eight hundred pages. But then so is her life. For Joan Littlewood's unorthodox autobiography is a noisy, rumbustious, compulsively readable account of her attempt to create, through Theatre Workshop, something unseen in Britain since Shakespeare's day: a high-quality popular theatre. What emerges is a graphic contradictory portrait of a brilliant, restless animateur: a romantic revolutionary with a strong streak of Cockney common sense. You put down this turbulent, often moving book reflecting that the greatest paradox of all is that, although this particular Pope Joan has no children, she has left her indelible imprint on British theatre and has bequeathed us countless heirs.
It's as if she's talking to you, the reader - and she could certainly talk. All her prejudices and insecurities are here. But so is her extraordinary life-giving energy. She could touch genius.
This exhilarating autobiography, abrasive, impudent, grossly opinionated, and like her best theatre work, a fine piece of popular entertainment.
This is not a tidy elegant memoir, but it is a rather wonderful one. [It's] funny, generous, warm-hearted, irreverent and bawdy . . . a memoir that ought to become a classic of the kind she admires - vital, energetic, full of hope and riotous laughter.