Grant Cole, like thousands of other young Americans, was drafted into the U. S. Army early in the Korean War. Grant grew up during the 1930s and 1940s in Los Angeles, California. After school, he entered the machinist trade. Because of this experience, the Army assigned him to the Ordnance Corps. In Korea, he was placed in a maintenance unit in Seoul and remained there for the remainder of his active duty. His view of the war there was very different from one on the front lines. Grant learned that the face of war is always an ugly one.
A Man for All Seasons dramatises the conflict between King Henry VIII and Sir Thomas More. It depicts the confrontation between church and state, theology and politics, absolute power and individual freedom. Throughout the play Sir Thomas More's eloquence and endurance, his purity, saintliness and tenacity in the face of ever-growing threats to his beliefs and family, earn him status as one of modern drama's greatest tragic heroes. The play was first staged in 1960 at the Globe Theatre in London and was voted New York's Best Foreign Play in 1962. In 1966 it was made into an Academy Award-winning film by Fred Zinneman starring Paul Scofield."A Man for All Seasons is a stark play, sparse in its narrative, sinewy in its writing, which confirms Mr Bolt as a genuine and solid playwright, a force in our awakening theatre." (Daily Mail)
In a time when our culture is becoming dominated by visual modes of communication such as television, movies, videos, and computer games, church people are recognizing the need to keep up with the trends. Drama is a useful tool in the work of the church: it adds interest and variety; it can reveal new insights on spiritual truths; and it appeals to all ages while being non-threatening for those unused to regular church services.This collection of easy-to-perform sketches includes both seasonal drama and pieces for any time of the year. They're suitable for worship services, social programs, or other occasions, as well as just-for-fun reading. Most have a performance time of less than five minutes, and few props are required.
The incredible Sunday Times bestseller 'Essential...A complex blend of overexcited Adrian Mole-like anecdotes mixed with shocking moments of racism and insights into Muslim religious practices' Sunday Times 'Authentic, funny and very relatable' - Sayeeda Warsi In 1997, Britain was leading the way to an exciting new world order. A funny, loveable and naïve 13-year-old Tez Ilyas from working class Blackburn wanted to be a doctor. By the end of 2001, the UK was at war with Afghanistan and Islamophobia had shot through the roof. 18-year-old Tez wasn't heading for a medical degree. In this rollercoaster of a coming-of-age memoir, comedian Tez Ilyas takes us back to the working class, insular British Asian Muslim community that shaped the man he grew up to be. Full of rumbling hormones, mischief-making friends, family tragedy, racism Tez didn't yet understand and a growing respect for his religion, his childhood is both a nostalgic celebration of everything that made growing up in the 90s so special, and a reflection on how hardship needn't define the person you become. At times shalwar-wetting hilarious and at others searingly sad, this is an eye-opening childhood memoir from a little-heard perspective that you'll be thinking about long after you've finished the last page.
This work focuses on rural community versions of Spanish Early Modern Theatre and deals with cultural heritage and the contemporary impact of Golden Age theatre on local rural communities. To this end, I examine the burgeoning of annual rural Golden Age theatre festivals that generate site-centered, non-professional productions of the plays, and revisit the conflict between tradition and innovation, between popular and high culture between authority of literary heritage and the people's right to the canon. The selection of Early Modern plays set in actual Spanish communities—Fuenteovejuna, El Alcalde de Zalamea, Numancia and Los tres blasones de España—renders an overview of the effect of these important works on their respective communities and focuses on the theatrical festivals as peripheral, subaltern, hybrid cultural phenomena. I take into consideration not only traditional and significant studies on these four renowned plays, but recent theories on staging, performance and popular reception and agency. The research involved crosses traditional disciplinary boundaries between literature, history, geography, and politics by centering on the appropriation and re-examination of a past that is continuously revised through contemporary performance, and which is adjusted to fit the needs and desires of the context in which it is interpreted. This diachronic approach allows for a new perspective on contemporary performances which question cultural politics, redefine tradition and transcend geo-political boundaries.
This is a deeply beautiful book on history as thinking and thinking as history or thinking history. Thinking spreads deep into time on all themes thinkable, including scientific analyses, self-reflections, dilemmas, paradoxes, and life-essential prudence. Besides, history involves historical process; likewise, this book historically involves its writing process in its own content reflected on. Reading this book reads thinking history as such.
