Cold War Theatre, first published in 1992, provides an account of the theatrical history within the context of East/West politics. Its geographical span ranges from beyond the Urals to the Pacific Coast of the US, and asks whether the Cold War confrontation was not in part due to the cultural climate of Europe. Taking the McCarthy era as its starting point, this readable history considers the impact of the Cold War upon the major dramatic movements of our time, East and West. The author poses the question as to whether European habits of mind, fostered by their cultures, may not have contributed to the political stalemates of the Cold War. A wide range of actors from both the theatrical and political stages are discussed, and their contributions to the theatre of the Cold War examined in a hugely enjoyable and enlightening narrative. This book is ideal for theatre studies students.

Since the Second World War, we have witnessed exciting, often confusing developments in the British theatre. This book, first published in 1976, presents an enlightening, objective history of the many facets of post-war British theatre and a fresh interpretation of theatre itself. The remarkable and profound changes which have taken place during this period range from the style and content of plays, through methods of acting, to shapes of theatres and the organisational habits of managers. Two national theatres have been brought almost simultaneously into existence; while at the other end of the financial scale, the fringe and pub theatres have kicked their way into vigorous life. The theatre in Britain has been one of the post-war success stories, to judge by its international renown and its mixture of experimental vitality and polished experience. In this book Elsom presents an approach to the problems of criticism and appreciation which range beyond those of literary analysis.

This book, first published in 1981, sets out the critical reaction to some fifty key post-war productions of the British theatre, as gauged primarily through the contemporary reviews of theatre critics. The plays chosen are each, in their different ways, important in their contribution to the development of the British theatre, covering the period from immediately after the Second World War, when British theatre fell into decline, through the revival of the late 1950s, to the time in which this book was first published, in which British theatre enjoyed a high international reputation for its diversity and quality. This book is ideal for theatre studies students, as well as for the general theatre-goer.

eBook available with sample pages: 0203359119

Cold War Theatre, first published in 1992, provides an account of the theatrical history within the context of East/West politics. Its geographical span ranges from beyond the Urals to the Pacific Coast of the US, and asks whether the Cold War confrontation was not in part due to the cultural climate of Europe. Taking the McCarthy era as its starting point, this readable history considers the impact of the Cold War upon the major dramatic movements of our time, East and West. The author poses the question as to whether European habits of mind, fostered by their cultures, may not have contributed to the political stalemates of the Cold War. A wide range of actors from both the theatrical and political stages are discussed, and their contributions to the theatre of the Cold War examined in a hugely enjoyable and enlightening narrative. This book is ideal for theatre studies students.

Since the Second World War, we have witnessed exciting, often confusing developments in the British theatre. This book, first published in 1976, presents an enlightening, objective history of the many facets of post-war British theatre and a fresh interpretation of theatre itself. The remarkable and profound changes which have taken place during this period range from the style and content of plays, through methods of acting, to shapes of theatres and the organisational habits of managers. Two national theatres have been brought almost simultaneously into existence; while at the other end of the financial scale, the fringe and pub theatres have kicked their way into vigorous life. The theatre in Britain has been one of the post-war success stories, to judge by its international renown and its mixture of experimental vitality and polished experience. In this book Elsom presents an approach to the problems of criticism and appreciation which range beyond those of literary analysis.

This book, first published in 1981, sets out the critical reaction to some fifty key post-war productions of the British theatre, as gauged primarily through the contemporary reviews of theatre critics. The plays chosen are each, in their different ways, important in their contribution to the development of the British theatre, covering the period from immediately after the Second World War, when British theatre fell into decline, through the revival of the late 1950s, to the time in which this book was first published, in which British theatre enjoyed a high international reputation for its diversity and quality. This book is ideal for theatre studies students, as well as for the general theatre-goer.

We have not been driven into Brexit at the point of a gun or out of economic necessity, but purely for cultural reasons. State of Paralysis explores the climate of opinion in Britain that has led to more than seventy years of indecision about our relationship with our continental neighbours and our role on the world's stage. The post-war years saw many dramatic changes: the arrival of weapons of mass destruction, the nuclear industries, space travel, civil rights, global warming, the Internet, the digitalisation of behaviour and the loss of Empire. The aim of the European Union was to keep the peace on the continent and to face these global problems. But has it done so? Have we in Britain been able to adjust to the demands of the new world or are we clinging on to a past that can never be recovered? John Elsom describes the political impasse in parliament and the country over the terms of Brexit to analyse what these motives were, how they were obtained and where their consequences may lead. He approaches these issues from the view of a political and cultural commentator, who has seen at first hand many of the changes that have affected all our lives.

In his new book, John Elsom considers the drama of international politics from the viewpoint of a theatre critic, someone who sits in life's stalls and takes notes in semi-darkness. He relates how grand narratives of human behaviour grew from the insights of Darwin, Descartes and the ancient Greek philosopher, Plato, to become "the unacknowledged state religion of the West, High Modernity." He argues that the primary aim of most European ministries of culture, together with Western media companies, is to promote aspects of this faith. With a dazzling range of examples, from George Bush's New World Order to the war in Iraq, the Peace Process in Northern Ireland and John Birt at the BBC, Dr. Elsom describes how the faith in High Modernity has permeated Western habits of mind. High Modernity may alarm those who do not share its Enlightenment beliefs, but it reassures others who want to believe that the future is something that "we can, and must, control," according to the mission statement for the Millennium Dome. The Author: John Elsom is the author of nine books, six plays and an opera libretto. A free-lance literary critic and journalist, who has worked for magazines and broadcasting stations around the world, including the BBC, Paramount Pictures and in the US, The World & I. He has taught in many universities and was the president of the IATC, a UNESCO cultural NGO. Currently a director of Arts Interlink, an arts management consultancy, he was knighted in Romania and doctored in London. Main hobby: random contemplation. Chief asset: a modest availability.