This book is written by a philosopher for other philosophers and for that section of the reading public who buy in large quantities and, no doubt, devour with great earnestness the popular books written by scientists for their enlightenment. We common readers, to adapt a phrase from Samuel Johnson, are fitted neither to criticize physical theories not to decide what precisely are their implications. We are dependent upon the scientists for an exposition of those developments which – so we find them proclaiming – have important and far-reaching consequences for philosophy. Unfortunately, however, our popular expositors do not always serve us very well. The two who are most widely read in this country are Sir Arthur Eddington and Sir James Jeans. They are not always reliable guides. Their influence has been considerable upon the reading public, upon theologians, and upon preachers; they have even misled philosopher who should have known better. Accordingly, it has seemed to me to be worth while to examine in some detail the philosophical views that they have put forth and to criticize the grounds upon which these views are based.
All you have is yourself, no words, no script in hand, no music to dance to, nothing to hide behind. It was just me the pure expression of my desire.' Trish Arnold (1918-2017) was a pioneer in the field of movement. Her work stands alongside that of movement practitioners such as Litz Pisk, Jacques Lecoq and Rudolf Laban in its influence on international theatre, film and drama-school training. Until now, her practice has never been written down in its entirety, but has been passed from body to body, through one-to-one teaching between movement practitioners. Lizzie Ballinger's intimate and groundbreaking book provides the first full exploration of Arnold's movement training for actors, focusing on the context, practice and evolution of Arnold's work, and its legacy in theatre-making today. Beginning with Arnold's journey into theatre from a dance background, Ballinger describes her own mentorship with Movement Director and Choreographer Jane Gibson, Arnold's first mentee, and provides a detailed and honest reflection on how she learned to teach this work. Supplemented throughout by beautiful illustrations of her movements, alongside Arnold's original notes and sketches, this book gives a clear and concise explanation of how to embody Arnold's movements.
Drawing together the work of 10 leading playwrights, this National Theatre Connections anthology features work by some of the most exciting and established contemporary playwrights. Gathered together in one volume, the plays collected offer young performers between the ages of 13 and 19 an engaging selection of material to perform, read or study. Each play has been specifically commissioned by the National Theatre's literary department with the young performer in mind. The anthology contains 10 play scripts; notes from the writer and director of each play, addressing the themes and ideas behind the play; and production notes and exercises for the drama groups. This year's anniversary anthology includes plays by Suhayla El-Bushra, Anders Lustgarten, Robin French, Tim Etchells, Patrick Marber, Kellie Smith, Lizzie Nunnery, Harriet Braun and Alistair McDowall.
This book provides a critical introduction to the full range of Williams' work - fiction and non-fiction. It assesses the significance of his contribution in understanding culture, politics and society. Fair-minded, accurate and sensitive, the book makes crucial connections between the different aspects of Williams' work and the underlying concern for a democratic polity which informed it.
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