The Dream of Peter Mann was first produced at the Edinburgh Lyceum in 1960 and is a bold exploration of what it is to live in a world threatened by nuclear annihilation. In Enter Solly Gold, an irreverent and much lighter work, Kops' protagonist fleeces a family of vulgar snobs, reducing them to penury but also introducing them to an enjoyment of life. Who Shall I Be Tomorrow? was a hit at the Greenwich Theatre in 1982 with Joanna Lumley as the frighteningly deluded woman trying to flee her own reality by building herself a world of daydreams.
This is the first book-length study of the work of contemporary writer Bernard Kops. Born on November 28, 1926 to Dutch-Jewish immigrants, Bernard Kops became famous after the production of his play The Hamlet of Stepney Green: A Sad Comedy with Some Songs in 1958. This play, like much of his work, focuses on the conflicts between young and old. Identified as an “angry young man,” Kops, like his contemporaries John Osborne, Shelagh Delaney, and Harold Pinter, belonged to the so-called new wave of British drama that emerged in the mid-1950s. Kops went on to create important documentaries about the Blitz and living in London during the early 1940s. He has written two autobiographies, over ten novels, many journalistic pieces, and more than forty plays for TV, stage, and radio. A prolific poet, Kops has authored a long pamphlet poem and eight poetry collections. Now in his mid-80s, the prolific and versatile Kops still produces, his creativity undimmed by age.
The first of its kind, this companion to British-Jewish theatre brings a neglected dimension in the work of many prominent British theatre-makers to the fore. Its structure reflects the historical development of British-Jewish theatre from the 1950s onwards, beginning with an analysis of the first generation of writers that now forms the core of post-war British drama (including Tom Stoppard, Harold Pinter and Arnold Wesker) and moving on to significant thematic force-fields and faultlines such as the Holocaust, antisemitism and Israel/Palestine. The book also covers the new generation of British-Jewish playwrights, with a special emphasis on the contribution of women writers and the role of particular theatres in the development of British-Jewish theatre, as well as TV drama. Included in the book are fascinating interviews with a set of significant theatre practitioners working today, including Ryan Craig, Patrick Marber, John Nathan, Julia Pascal and Nicholas Hytner. The companion addresses, not only aesthetic and ideological concerns, but also recent transformations with regard to institutional contexts and frameworks of cultural policies.
The Dream of Peter Mann was first produced at the Edinburgh Lyceum in 1960 and is a bold exploration of what it is to live in a world threatened by nuclear annihilation. In Enter Solly Gold, an irreverent and much lighter work, Kops’ protagonist fleeces a family of vulgar snobs, reducing them to penury but also introducing them to an enjoyment of life. Who Shall I Be Tomorrow? was a hit at the Greenwich Theatre in 1982 with Joanna Lumley as the frighteningly deluded woman trying to flee her own reality by building herself a world of daydreams.
The year 1956 marked a point when British drama and theater fell into the hands of a group of young playwrights who revolutionized the stage. During that time, playwrights such as Samuel Beckett and Harold Pinter made the British theater as rich, varied, and vital as any national theater in history. This reference chronicles the history of British theater from 1956 to 1995 by providing detailed information about the playwrights of that period. Included are entries for some three dozen British playwrights active between 1956 and 1995. Entries are arranged alphabetically to facilitate use. Each entry supplies biographical information, the production history for particular plays, a survey of the playwright's critical reception, an assessment of the dramatist's work, and primary and secondary bibliographies. A selected, general bibliography at the end of the volume directs the reader to important sources of additional information about this period in theater history.
Why have contemporary playwrights been obsessed by Shakespeare’s plays to such an extent that most of the canon has been rewritten by one rising dramatist or another over the last half century? Among other key figures, Edward Bond, Heiner Müller, Carmelo Bene, Arnold Wesker, Tom Stoppard, Howard Barker, Botho Strauss, Tim Crouch, Bernard Marie Koltès, and Normand Chaurette have all put their radical originality into the service of adapting four-century-old classics. The resulting works provide food for thought on issues such as Shakespearean role-playing, narrative and structural re-shuffling. Across the world, new writers have questioned the political implications and cultural stakes of repeating Shakespeare with and without a difference, finding inspiration in their own national experiences and in the different ordeals they have undergone. How have our contemporaries carried out their rewritings, and with what aims? Can we still play Hamlet, for instance, as Dieter Lesage asks in his book bearing this title, or do we have to “kill Shakespeare” as Normand Chaurette implies in a work where his own creative process is detailed? What do these rewritings really share with their sources? Are they meaningful only because of Shakespeare’s shadow haunting them? Where do we draw the lines between “interpretation,” “adaptation” and “rewriting”? The contributors to this collection of essays examine modern rewritings of Shakespeare from both theoretical and pragmatic standpoints. Key questions include: can a rewriting be meaningful without the reader’s or spectator’s already knowing Shakespeare? Do modern rewritings supplant Shakespeare’s texts or curate them? Does the survival of Shakespeare in the theatrical repertory actually depend on the continued dramatization of our difficult encounters with these potentially obsolete scripts represented by rewriting?
In a volume containing 14 original plays – including three shadow-play adaptions of Gogol, Morton and Runyon classics – the author resurrects a sadly neglected theatre genre – the shadow play combining traditional shadow techniques with normal acting to create ‘full-bodied’ mainstream plays. These plays do not use shadow puppetry-type techniques that need people contorting themselves, however wonderfully, to form shapes, but rather normal acting prowess together and usual props of mainstream theatre with the new back-lighting technologies. The result is plays which are realistic and yet overlain with the imaginative fantasies that figure theatre can bring… in a fallow area lying between mime and conventional stage plays… a rediscovered form of a modern staging that crosses between live and shadow effect, whether in workshopping for all ages and group-size or for professional productions. Shadow plays comprise the theatre landscape for live actors re-skilled to jump from behind-the-screen one-dimensional acting to front-of-the-screen three-dimensional acting at any moment of the play. They allow a new and exciting way of presenting the combination of the real and the surreal in ways that offer broadened audience and student experiences, under the master-of-storytelling of a shadow teller together with the master-of-pacing of a mobile light spotter.
From a Sports Illustrated senior writer, “a richly detailed history of Aliquippa football . . . A remarkable story of urban struggle and athletic prowess” (Pittsburgh Post-Gazette). In the early twentieth century, down the Ohio River from Pittsburgh, the Jones & Laughlin Steel Company built one of the largest mills in the world and a town to go with it. Aliquippa was a beacon and a melting pot, pulling in thousands of families from Europe and the Jim Crow South. The J&L mill, though dirty and dangerous, offered a chance at a better life. It produced the steel that built American cities and won World War II and even became something of a workers’ paradise. But then, in the 1980s, the steel industry cratered. The mill closed. Crime rose and crack hit big. But another industry grew in Aliquippa. The town didn’t just make steel; it made elite football players, from Mike Ditka to Ty Law to Darrelle Revis. Few places churned out talent like Aliquippa, a town not far from the birthplace of professional football in western Pennsylvania. Despite its troubles—maybe even because of them—Aliquippa became legendary for producing football greatness. A masterpiece of narrative journalism, Playing Through the Whistle tells the remarkable story of Aliquippa and through it, the larger history of American industry, sports, and life. Like football, it will make you marvel, wince, cry, and cheer. “Looks at the struggling steel town of Aliquippa, Pa., through the prism of its high school football team. The author understands the Rust Belt particulars of the region better than most political professionals.” —The Wall Street Journal
