Off-Broadway/Off-West End
American Influence on the Alternative Theatre Movement in Britain 1956–1980
Nonfiction, Entertainment, Performing Arts, Theatre, History & Criticism
| Author: | David Weinberg | ISBN: | 9783838270326 |
| Publisher: | Ibidem Press | Publication: | September 26, 2017 |
| Imprint: | Ibidem Press | Language: | English |
| Author: | David Weinberg |
| ISBN: | 9783838270326 |
| Publisher: | Ibidem Press |
| Publication: | September 26, 2017 |
| Imprint: | Ibidem Press |
| Language: | English |
David Weinberg argues that American experimental theater practice was a key factor in the development of the alternative theater movement in Britain during the period 1956–1980. He covers the activities of the experimental theater groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler, and Ed Berman, four expatriate American theater practitioners living in Britain. In addition, he also examines important American-based groups—Living Theatre (1947), Open Theatre (1964), La MaMa (1960), and Bread and Puppet (1965)—which performed in Britain and which made an impact during the same period, as well as a wide range of indigenous British groups—Pip Simmons (1968), Foco Novo (1972–1989), Joint Stock (1974–1989), institutions—RSC (1961), Royal Court (1956)—and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Ann Jellicoe, and the Portable playwrights (1968–1972), which in one way or another were influenced by American exemplars. Weinberg's study is essential reading for everyone seeking a more comprehensive and dynamic understanding of the forces which shaped the alternative theatrer movement in Britain.
David Weinberg argues that American experimental theater practice was a key factor in the development of the alternative theater movement in Britain during the period 1956–1980. He covers the activities of the experimental theater groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler, and Ed Berman, four expatriate American theater practitioners living in Britain. In addition, he also examines important American-based groups—Living Theatre (1947), Open Theatre (1964), La MaMa (1960), and Bread and Puppet (1965)—which performed in Britain and which made an impact during the same period, as well as a wide range of indigenous British groups—Pip Simmons (1968), Foco Novo (1972–1989), Joint Stock (1974–1989), institutions—RSC (1961), Royal Court (1956)—and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Ann Jellicoe, and the Portable playwrights (1968–1972), which in one way or another were influenced by American exemplars. Weinberg's study is essential reading for everyone seeking a more comprehensive and dynamic understanding of the forces which shaped the alternative theatrer movement in Britain.
