New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance.

Our future depends on the state of our imaginations. Drama becomes more important as the world changes. Plays young people write, act in and watch are the blueprints of the world they will have to live in. Edward Bond has chosen in recent years to focus much of his work on plays for young people, arguing that drama helps children "to know themselves and their world and their relation to it". This book discusses some of his important plays for young people and offers case studies of various productions of them. Contributors examine how the plays have been used by teachers and theatre companies with young people and they explore the demands of acting and staging Bond. Contributors include Tony Coult, Chris Cooper, Katie Katafiasz, John Doona, Tony Grady and Bill Roper. One chapter is taken from the notes of Geoff Gillham, and one is written by Edward Bond. The book will be of interest to those who work in drama with young people, whether in theatre, community work or in schools.

Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period . The 1960s was a decade of seismic changes in British theatre as in society at large. This important new study in Methuen Drama's Decades of Modern British Playwriting series explores how theatre-makers responded to the changes in society. Together with a thorough survey of the theatrical activity of the decade it offers detailed reassessments of the work of four of the leading playwrights. The 1960s volume provides in-depth studies of the work of four of the major playwrights who came to prominence: Edward Bond (by Steve Nicholson), John Arden (Bill McDonnell), Harold Pinter (Jamie Andrews) and Alan Ayckbourn (Frances Babbage). It examines their work then, its legacy today, and how critical consensus has changed over time.

First Published in 1997. Edward Bond Letters, Volume III, includes sections on the important areas of writing and translating as well as continuing to trace Bond's interest in productions of his work. Focusing on The Pope's Wedding and Saved, a radio production of The Fool (1990), In the Company of Men (1992) and the television plays – Olly's Prison (1993) and Tuesday (1993) – this lively and thought-provoking volume of Edward Bond's letters provides useful background information for both the student and the general reader.

Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: · Some of Asia's traditional training methods and recent experiments in performer training · Eugenio Barba's training methods · Jerzy Grotowski's most recent investigations · The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett · Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute · Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses · The reformulation of the use of emotions in performer training known as Alba Emoting.

This publication is the first comprehensive account in English of the history of the Freie Volksb^D"hne, founded in Berlin in 1890 through the interaction of Social Democracy and Theatrical Naturalism. Cecil Davies details the nationwide growth of the Volksb^D"hne Movement during the 1920s through the 1990s - including Germany's stormy history up to World War I, the problems associated with building the Volksbühne's own theatre, and the reunification of Germany. Weight is given to the contributions of major figures in the movement such as Bruno Wille, Siegfried Nestriepke, and Erwin Piscator.

Theatres of Conscience offers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed. Combining a rigorous scholarly evaluation of their work and their broadly ideological and ethical contribution to wider post-war developments in British theatre. Peter Billingham offers the reader a unique insight into four companies which, motivated by enthusiasm, principles and creative innovation, sought to take the theatre of conscience to theatre-less communities in wartime Britain and during the following decade. Contemporaries of - amongst others - Joan Littlewood's Theatre Workshop, the Pilgrim Players, the Adelphi Players, the Compass Players and the Century Theatre represent a significant but rather overlooked phase in the development of twentieth-century British theatre.