Edward Bond Letters 5
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| Author | : Ian Stuart |
| Publisher | : Routledge |
| Total Pages | : 190 |
| Release | : 2014-06-03 |
| Genre | : Performing Arts |
| ISBN | : 1134355696 |
First Published in 1994. Edward Bond Letters, Volume V, contains over thirty letters and papers covering Bond's controversial views on violence and justice, plays, writers and directors, and a postscript that is Bond's discussion of the funeral of Diana, Princess of Wales. The explosive content of these letters applies to Bond's plays and society as a whole; Bond believes that all violence is the manifestation of an unbalanced and dangerous society. As with the four preceding volumes in this collection, Edward Bond is critical of present theatre, but at the same time his observations are useful in indicating how theatre can be changed. Bond's illustrations provide accompaniment to the letters.
| Author | : Ian Stuart |
| Publisher | : Routledge |
| Total Pages | : 223 |
| Release | : 2013-12-19 |
| Genre | : Performing Arts |
| ISBN | : 1134423101 |
Edward Bond Letters, Volume IV, focuses on four significant areas of Edward Bond's work: education, imagination and the child; theatre-in-education; At the Inland Sea; language and imagery. The letters represent a coruscating attack on our present society, as well as offering insights into how the situation might be improved. Bond's letters attack modern education, arguing that "children are being educated to sell themselves" and suggesting that social problems are caused by an oppression of the imagination. Many letters refer directly to a play - for instance Tuesday, which presents an assessment of the many difficulties faced by contemporary society. The language and imagery of one of Bond's most recent plays, In the Company of Men, is animatedly discussed, and Bond reminds us in a final description that "the good image is always absent, because it is present in the mind.
| Author | : Edward Bond |
| Publisher | : Psychology Press |
| Total Pages | : 234 |
| Release | : 1994 |
| Genre | : Drama |
| ISBN | : 9780415270205 |
Edward Bond Letters 5 contains over thirty letters and papers covering Bond's controversial views on violence and justice, plays, writers and directors, and a postscript that is Bond's discussion of the funeral of Diana, Princess of Wales. As always the explosive content of these letters applies to Bond's plays and society as a whole. We learn through these absorbing letters his attitude to violence. Bond believes that all violence is the manifestation of an unbalanced and dangerous society. As with the four preceding volumes in this collection, Edward Bond is critical of our present theatre, but at the same time his observations are useful in indicating how theatre can be changed. Bond's illustrations provide a lively accompaniment to the letters.
| Author | : Ian Stuart |
| Publisher | : Routledge |
| Total Pages | : 236 |
| Release | : 2013-09-13 |
| Genre | : Performing Arts |
| ISBN | : 1134368291 |
First Published in 1997. Edward Bond Letters, Volume III, includes sections on the important areas of writing and translating as well as continuing to trace Bond's interest in productions of his work. Focusing on The Pope's Wedding and Saved, a radio production of The Fool (1990), In the Company of Men (1992) and the television plays – Olly's Prison (1993) and Tuesday (1993) – this lively and thought-provoking volume of Edward Bond's letters provides useful background information for both the student and the general reader.
| Author | : Ian Stuart |
| Publisher | : Routledge |
| Total Pages | : 254 |
| Release | : 2013-10-31 |
| Genre | : Performing Arts |
| ISBN | : 1134363184 |
First Published in 1996. Contemporary Theatre Studies is a book series of special interest to everyone involved in theatre. It consists of monographs on influential figures, studies of movements and ideas in theatre, as well as primary material consisting of theatre-related documents, performing editions of plays in English, and English translations of plays from various vital theatre traditions worldwide. Complementing the first volume of Edward Bond's letters, which provided a theoretical introduction to many of the social and political issues in his plays, Edward Bond Letters Volume II is organized into seven chapters which explore Bond's approach to some of the plays in performance.
| Author | : Edward Bond |
| Publisher | : A&C Black |
| Total Pages | : 113 |
| Release | : 2014-01-08 |
| Genre | : Drama |
| ISBN | : 1408178095 |
Described by its author as 'almost irresponsibly optimistic', Saved is a play set in London in the sixties. Its subject is the cultural poverty and frustration of a generation of young people on the dole and living on council estates. The play was first staged privately in November 1965 at the Royal Court Theatre before members of the English Stage Society in a time when plays were still censored. With its scenes of violence, including the stoning of a baby, Saved became a notorious play and a cause célèbre. In a letter to the Observer, Sir Laurence Olivier wrote: 'Saved is not a play for children but it is for grown-ups, and the grown-ups of this country should have the courage to look at it.' Saved has had a marked influence on a whole new generation writing in the 1990s. Edward Bond is "a great playwright - many, particularly in continental Europe, would say the greatest living English playwright" (Independent)
| Author | : Edward Bond |
| Publisher | : A&C Black |
| Total Pages | : 238 |
| Release | : 2014-03-24 |
| Genre | : Drama |
| ISBN | : 147253669X |
In this first volume of notebooks, Edward Bond reveals himself to be one of the finest and most creative minds to have emerged in the twentieth century. Exploring the meeting point between politics and the art of the writer, Bond's notes chart the creative progress of his work and thinking over a twenty-year period, from 1959, when his first plays started to be produced at London's Royal Court Theatre, to 1979, when he had achieved fame as a major writer. While providing a detailed commentary on his plays the Notebooks also contain early play drafts, poems and stories, his thoughts on life, Brecht, art and dramatic method as well as his notes on censorship.
| Author | : Edward Bond |
| Publisher | : A&C Black |
| Total Pages | : 280 |
| Release | : 2014-01-03 |
| Genre | : Drama |
| ISBN | : 1408169940 |
An important, urgent book of essays from Britain's most challenging dramatist: "...a great playwright - many, particularly in continental Europe, would say the greatest living English playwright." (The Independent) This collection of passionate and polemical essays deals with drama from its origin in the human mind to its use in history and the present. It explains the hidden working of drama behind the state, religion, family, crime and war. It is a revolutionary understanding of the human world with drama at its centre. A ruthless critique of the theatre's present state and its trivialisation as entertainment by the media, it reveals and sees a radical new theatre for the future. Edward Bond is internationally recognised as a major playwright and a leading theoretician of drama. He is the most performed British dramatist abroad. This is his latest and most important account of the meaning and practice of theatre as we start a new millennium.
| Author | : Elizabeth Hale Winkler |
| Publisher | : University of Delaware Press |
| Total Pages | : 382 |
| Release | : 1990 |
| Genre | : Literary Criticism |
| ISBN | : 9780874133585 |
This comprehensive study formulates an original theory that dramatic song must be perceived as a separate genre situated between poetry, music, and theater. It focuses on John Arden, Margaretta D'Arcy, Edward Bond, Peter Barnes, John Osborne, Peter Nichols, Harold Pinter, Tom Stoppard, Peter Shaffer, and John McGrath.
| Author | : Clive Barker |
| Publisher | : Cambridge University Press |
| Total Pages | : 100 |
| Release | : 1994-09-15 |
| Genre | : Drama |
| ISBN | : 9780521466585 |
New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance.
