Parker, Peter, editor. The Reader’s Companion to Twentieth-Century Writers. Fourth Estate and Helicon.
60
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Textual Production | Samuel Beckett | London's Royal Court
had been vying with New York for the world premiere. Not I, Footfalls, and Rockaby (1981) were all associated with the actress Billie Whitelaw
. Parker, Peter, editor. The Reader’s Companion to Twentieth-Century Writers. Fourth Estate and Helicon. 60 |
Textual Production | Ann Jellicoe | AJ
knew from an early age that she wanted to work in the theatre. At school she put together amateur productions of many of her own creations. Her first work to achieve a professional production... |
Textual Production | Caryl Churchill | The play was commissioned by Michael Codron
, an influencial theatre producer who had backed Harold Pinter
and Joe Orton
. Kritzer, Amelia Howe. The Plays of Caryl Churchill: Theatre of Empowerment. Macmillan. 61 |
Textual Production | Malorie Blackman | She had already written a televised version of her own Pig-Heart Boy (shown by the BBC
on 7 December 1999) and several episodes each for the tv series Byker Grove and Whizziwig (of which only... |
Textual Production | Winsome Pinnock | This was the first play that WP
wrote, aged twenty-three. Though it is largely a play about women, it grew from interviews she did with veterans from the Falklands War, when she felt that the... |
Textual Production | Caryl Churchill | In this production CC
continued her longtime collaboration with director Max Stafford-Clark
, who had worked on several of her Joint Stock
and Royal Court
plays. Churchill, Caryl. Blue Heart. Theatre Communications Group. prelims |
Textual Production | Maureen Duffy | In the five years after university she completed three stage plays and counted herself one of a group of playwrights connected with the Royal Court Theatre
, which included John Arden
, Edward Bond
,... |
Textual Production | Caryl Churchill | Other projects from the 1990s include Lives of the Great Poisoners (1991) and Hotel (1997), both co-written with composer Orlando Gough
and choreographer Ian Spink
for Second Stride
theatre company; a translation of Seneca
's... |
Textual Production | Caryl Churchill | In April 2003 CC
participated in a series of events at the Royal Court
entitled War Correspondence. She composed her documentary piece Iraqdoc, out of actual remarks from a website chatroom frequented by... |
Textual Production | Pam Gems | This play was the first by a woman to be staged by the RSC in Stratford. PG
originally wrote it for the Royal Court Theatre
at the request of playwright Ann Jellicoe
, who was... |
Textual Production | Doris Lessing | Its original production was at the Royal Court Theatre
in London 1958. In April 2015 a revival opened at the |
Textual Production | Marie Stopes | MS
must have been still at the threshold of her career as a dramatist when she proposed to Angela Brazil
that she should do a stage adaptation of one of Brazil's school stories. Brazil quashed... |
Textual Production | Caryl Churchill | CC
's A Number (a play about cloning, whose characters are exclusively male) opened at the Royal Court Theatre
in London, directed by Stephen Daldry
. Gardner, Lyn. “A Number”. Guardian Unlimited. |
Textual Production | Timberlake Wertenbaker | TW
's Three Birds Alighting on a Field opened at the Royal Court Theatre
in London. Demastes, William W., editor. British Playwrights, 1956-1995. Greenwood Press. 410 |
Textual Production | Timberlake Wertenbaker | TW
's The Break of Day opened at the Royal Court Theatre
in London after touring the UK; it was published by Faber and Faber
in London and Boston in the same year. Wertenbaker, Timberlake. The Break of Day. Faber and Faber. title-page, back cover |