At the heart of a London Park there is a beautiful house. Inside, the raging Pongo has volunteered for an anger management drug trial. But isn’t anger vital to our humanity? Set in a mythical England against ongoing war and civil insurrection, Animal is a dark and funny tale of humanity’s struggle for progress. In this millennium, will we choose to be Animals or Angels? Animal opened at The Soho Theatre and New Writing Centre, London, on 4th September 2003 before embarking on a National tour.
Moving from the biggest democracy on the planet to the newest, Bites takes us back to Afghanistan via Texas. In the last diner at the end of a world ravaged by war, a menu of love, death and revenge is served by the ‘hired help'. Seven courses make for a poetic feast of universal tales looking back to the forgotten war and forward to a nightmarish future. Produced at the Bush Theatre, London in January 2005 (Mama Quillo in association with The Bush).
In 2011, all over the Arab World, veiled women took to the streets to protest. Their calls for change were briefly celebrated, soon derided, and eventually ignored. For the first time on stage, The Singing Stones gives voice to their extraordinary stories. These are the women who snitched on Gaddafi, marched on Tahrir Square, defended the bloody borders of Kurdistan, and became the heroines of our century’s greatest struggle. But who are they? What led them to revolution? And where do they go from here? The Singing Stones is a fearless exploration of women and the Arab Spring.
The Oikos Project and the two plays Oikos and Protozoa are an attempt to take responsibility for creating a different future in relation to the coming threat of climate change. Can we createa future based less on material gain and more on being in sympathy with our only planet? OIKOS Salil, a highly-successful businessman, has it all worked out: career, family, river-view des-res in Chiswick and a beautiful mistress. So why is he increasingly haunted by ghosts from the Old Country? When the Thames bursts its banks and his family scramble to keep their heads above water, the very foundations of his perfect life are threatened and Salil is forced to look to both his future and his past for redemption. PROTOZOA When the United Kingdom disappears in The Floods, Cordelia is determined to rebuild her grand house at any cost. When Sheann emerges half dead from the black waters, she will do anything to find her lost child. In this strange, formless new world, Inspector John Hall, born again out of the mud and slurry, will stop at nothing to ensure the survival of his citizens. If civilisation was to disappear tomorrow, how would we rebuild it? As Cordelia, Sheann and Hall’s lives collide in a volatile, repressive and increasingly familiar world, who are the women on the other side of the shrinking, fetid river who watch and wait?
A young woman arrives in a strange country. A woman who has committed no crime. She is indefinitely confined, humiliated and racially and sexually abused. She witnesses her guards’ petty dishonesty and casual brutality. She sees innocents scapegoated and worst of all she hears the authorities lie and lie again. The country is England. It is 1997. The Bogus Woman was produced at the Traverse Theatre, Edinburgh in 2000 and at the Bush Theatre, London in 2001.
Six Ensemble Plays for Young Actors is an anthology of work written for actors aged 11-25. Ideal for youth theatre groups, schools and amateur dramatic companies, it contains a diverse selection of plays suited to large casts and ensemble performance. Varying in style and subject matter, the plays offer performers, directors and designers a range of exciting challenges: from recreating the mythological world of The Odyssey to a dramatisation of two hundred years of slavery that will take the audience on a journey from eighteenth century Africa to 1990s London in Sweetpeter. Contemporary urban living is confronted in plays ranging from the starkly realistic to the playful, lyrical and surrealistic. From the innocent and imaginative world of a school playground to issues of racism, peer pressure, crime and communication in a mobile phone obsessed culture, this is a wide-ranging anthology that will enrich the repertoire of youth theatre groups and the curriculum in schools. The volume is introduced by Paul Roseby, artistic director of the National Youth Theatre.
White people in their big shiny cars drive many kilometres with their sickness which I heal; sickness of the mind, body and of the soul. I charge a bit more for the soul' At night, a young black boy is 'questioned' by a white South African policeman..... 36 years later, when the truth is dug up, a tortured Jennifer watches over her dying husband. But does her maid Beauty have the power to 'save' him, and is the price of remembering a dreadful secret one that Jennifer is prepared to pay? Bones is a ruthless excavation of South Africa in 2005, and in an age of threats, retribution and bloody revenge, it is an anthem for hope. A production directed by Adshead opened at the Bush Theatre in October 2006.
Since China’s announcement of the Belt and Road Initiative (BRI) in 2013, commentary on China’s activity across Eurasia and beyond has proliferated. English-language media tends to depict China as an aggressive power devoted to projecting its geopolitical influence, and portrays the BRI as a new and potentially threatening project. Before China’s Belt and Road: Central Asian Connectivity Through Time challenges these prevailing assumptions about the BRI. It places the BRI in the context of the historical relationship between China and its neighbours, focusing on the Central Asian countries, whose close economic links with China long predate the BRI. The authors argue that the BRI does not constitute a new approach on the ground. Throughout Central Asia’s past, bi- and multilateral cooperation, regional institution building and person-to-person trade all have played enduringly central roles. Before China’s Belt and Road shows how these phenomena are also central to the BRI framework, suggesting that the BRI’s implementation is by no means an entirely top-down intervention by Beijing.
At the heart of a London Park there is a beautiful house. Inside, the raging Pongo has volunteered for an anger management drug trial. But isn’t anger vital to our humanity? Set in a mythical England against ongoing war and civil insurrection, Animal is a dark and funny tale of humanity’s struggle for progress. In this millennium, will we choose to be Animals or Angels? Animal opened at The Soho Theatre and New Writing Centre, London, on 4th September 2003 before embarking on a National tour.
White people in their big shiny cars drive many kilometres with their sickness which I heal; sickness of the mind, body and of the soul. I charge a bit more for the soul' At night, a young black boy is 'questioned' by a white South African policeman..... 36 years later, when the truth is dug up, a tortured Jennifer watches over her dying husband. But does her maid Beauty have the power to 'save' him, and is the price of remembering a dreadful secret one that Jennifer is prepared to pay? Bones is a ruthless excavation of South Africa in 2005, and in an age of threats, retribution and bloody revenge, it is an anthem for hope. A production directed by Adshead opened at the Bush Theatre in October 2006.
In 1904, sixteen women travelled together by train to cover the St Louis World's Fair. The Sweet Sixteen traces the fateful ten-day trip that resulted in the formation of a professional club for the advancement of Canadian newspaper women. Drawing upon letters, journals, interviews, and most significantly, newspaper stories written by the women themselves, Linda Kay narrates the journey to St Louis with evocative detail. Delving into the group dynamics and individual experiences of these women, Kay explores the cultural divide between the Anglophone and Francophone members of the group and provides compelling biographical sketches of each woman's life and work. The Sweet Sixteen documents the struggles of a group of tenacious and talented women who, in 1904, did not have the right to vote, were not regarded as persons under the law, and were credentialed as journalists at a time when marriage and motherhood were considered a woman's one true calling. Their legacy -the Canadian Women's Press Club - is a testament to their daring.
This book urges respect for solitary dissent rather than censure. It equips a wide audience to understand what previously seemed unimaginable, much less comprehensible. It shows the reader how to reach beyond those first conclusions and into the heart of the matter. The lone voice explains that something has been hidden away, something which the individual now dissenting can no longer acquiesce in. It raises the possibility that more may be seriously wrong. Those who need to understand range from academics, to researchers, to managers, to elected representatives, to journalists. We all have an interest in knowing not just what has gone wrong but also why this person, and no other, decided they could take no more. If we are to correct a bad situation, rather than just patch it up, we need clarity at every level of the individual’s deepening unease. The book uses four case studies (two in Ireland, one in UK, all on the record, and one authoritative biography of a well-known Italian personality), to demonstrate an approach to analyzing solitary dissent. The methods used are academic but, in the way they are presented, certainly intelligible to the lay-reader. Indeed, the author (who is one of the case studies) writes with a degree of affection for his two authorities, Michel Foucault and Anthony Giddens, which is engaging, anything but formal, but no less authoritative for that. Another persuasive output of the book is the resonance of solitary dissent with Jean-Paul Sartre’s existentialism which is also analysed. The Solitary Voice of Dissent is limited by the extent to which the author has been able to delve into the personal privacy of the case studies offered. With commendable detachment, he is able to examine his own experience; and the biography he has selected allows a similarly deep investigation into the fourth case study. While each personality investigated was male, the author also identifies certain contemporary female dissenters. This is an area increasingly impacting upon the public’s awareness but which no-one has written about before. If we are to mend our society, we need to start a conversation. A wide audience will wish to follow it.
A detailed analysis of unrivalled quality, Blackstone's Civil Practice 2013: The Commentary delivers authoritative guidance on the process of civil litigation from commencement of a claim to enforcement of judgments, providing invaluable commentary on civil procedure in a new, concise format.
In 2011, all over the Arab World, veiled women took to the streets to protest. Their calls for change were briefly celebrated, soon derided, and eventually ignored. For the first time on stage, The Singing Stones gives voice to their extraordinary stories. These are the women who snitched on Gaddafi, marched on Tahrir Square, defended the bloody borders of Kurdistan, and became the heroines of our century’s greatest struggle. But who are they? What led them to revolution? And where do they go from here? The Singing Stones is a fearless exploration of women and the Arab Spring.
Moving from the biggest democracy on the planet to the newest, Bites takes us back to Afghanistan via Texas. In the last diner at the end of a world ravaged by war, a menu of love, death and revenge is served by the ‘hired help'. Seven courses make for a poetic feast of universal tales looking back to the forgotten war and forward to a nightmarish future. Produced at the Bush Theatre, London in January 2005 (Mama Quillo in association with The Bush).
A young woman arrives in a strange country. A woman who has committed no crime. She is indefinitely confined, humiliated and racially and sexually abused. She witnesses her guards’ petty dishonesty and casual brutality. She sees innocents scapegoated and worst of all she hears the authorities lie and lie again. The country is England. It is 1997. The Bogus Woman was produced at the Traverse Theatre, Edinburgh in 2000 and at the Bush Theatre, London in 2001.
The Oikos Project and the two plays Oikos and Protozoa are an attempt to take responsibility for creating a different future in relation to the coming threat of climate change. Can we createa future based less on material gain and more on being in sympathy with our only planet? OIKOS Salil, a highly-successful businessman, has it all worked out: career, family, river-view des-res in Chiswick and a beautiful mistress. So why is he increasingly haunted by ghosts from the Old Country? When the Thames bursts its banks and his family scramble to keep their heads above water, the very foundations of his perfect life are threatened and Salil is forced to look to both his future and his past for redemption. PROTOZOA When the United Kingdom disappears in The Floods, Cordelia is determined to rebuild her grand house at any cost. When Sheann emerges half dead from the black waters, she will do anything to find her lost child. In this strange, formless new world, Inspector John Hall, born again out of the mud and slurry, will stop at nothing to ensure the survival of his citizens. If civilisation was to disappear tomorrow, how would we rebuild it? As Cordelia, Sheann and Hall’s lives collide in a volatile, repressive and increasingly familiar world, who are the women on the other side of the shrinking, fetid river who watch and wait?
The Oikos Project and the two plays Oikos and Protozoa are an attempt to take responsibility for creating a different future in relation to the coming threat of climate change. Can we createa future based less on material gain and more on being in sympathy with our only planet? OIKOS Salil, a highly-successful businessman, has it all worked out: career, family, river-view des-res in Chiswick and a beautiful mistress. So why is he increasingly haunted by ghosts from the Old Country? When the Thames bursts its banks and his family scramble to keep their heads above water, the very foundations of his perfect life are threatened and Salil is forced to look to both his future and his past for redemption. PROTOZOA When the United Kingdom disappears in The Floods, Cordelia is determined to rebuild her grand house at any cost. When Sheann emerges half dead from the black waters, she will do anything to find her lost child. In this strange, formless new world, Inspector John Hall, born again out of the mud and slurry, will stop at nothing to ensure the survival of his citizens. If civilisation was to disappear tomorrow, how would we rebuild it? As Cordelia, Sheann and Hall’s lives collide in a volatile, repressive and increasingly familiar world, who are the women on the other side of the shrinking, fetid river who watch and wait?
Six Ensemble Plays for Young Actors is an anthology of work written for actors aged 11-25. Ideal for youth theatre groups, schools and amateur dramatic companies, it contains a diverse selection of plays suited to large casts and ensemble performance. Varying in style and subject matter, the plays offer performers, directors and designers a range of exciting challenges: from recreating the mythological world of The Odyssey to a dramatisation of two hundred years of slavery that will take the audience on a journey from eighteenth century Africa to 1990s London in Sweetpeter. Contemporary urban living is confronted in plays ranging from the starkly realistic to the playful, lyrical and surrealistic. From the innocent and imaginative world of a school playground to issues of racism, peer pressure, crime and communication in a mobile phone obsessed culture, this is a wide-ranging anthology that will enrich the repertoire of youth theatre groups and the curriculum in schools. The volume is introduced by Paul Roseby, artistic director of the National Youth Theatre.
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