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'One way of describing Educating Rita would be to say that it was
about the meaning of education ... Another would be to say that it
was about the meaning of life. A third, that it is a cross between
Pygmailion and Lucky Jim. A fourth, that it is simply a marvellous
play, painfully funny and passionately serious; a hilarious social
documentary; a fairy-tale with a quizzical, half-happy ending.'
Sunday Times This new student edition includes an introduction
covering the play's context; chronology; dramatic devices; critical
reception; production history; and key themes such as class and
identity, popular culture and education. Educating Rita portrays a
working-class Liverpool woman's hunger for education. It premiered
at the RSC Warehouse, London, in 1980 and won the SWET award for
Best Comedy of the Year. It was subsequently made into a highly
successful film with Michael Caine and Julie Walters and won the
1983 BAFTA award for Best Film. Commentary and notes by Katie
Beswick, University of the Arts London.
This collection of three hip hop plays by Conrad Murray and his
Beats & Elements collaborators Paul Cree, David Bonnick Junior
and Lakeisha Lynch-Stevens, is the first publication of the
critically acclaimed theatre-maker's work. The three plays use hip
hop to highlight the inequalities produced by the UK's class
system, and weave lyricism, musicality and dialogue to offer
authentic accounts of inner-city life written by working-class
Londoners. The plays are accompanied by two introductory essays:
The first gives a specific social and historical context that helps
readers make sense of the plays, the second positions hip hop as a
contemporary literary form and offers some ways to read hip hop
texts as literature. The collection also includes a foreword by
leading hip hop theatre practitioner Jonzi D, interviews with the
Beats & Elements company, and a glossary of words for students
and international readers.
Making Hip Hop Theatre is the essential, practical guide to making
hip-hop theatre. It features detailed techniques and exercises that
can guide creatives from workshops through to staging a
performance. If you were inspired by Hamilton, Barber Shop
Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a
Monster, this is the book for you. Covering vocal technique, use of
equipment, mixing, looping, sampling, working with venues and
dealing with creative challenges, this book is a bible for both new
and experienced artists alike. Additionally, with links to online
video material demonstrating and elaborating on the exercises
included, it offers countless useful tools for teachers and
facilitators of drama, music and other creative arts. Alongside
this practical guidance is an overview of hip hop history, giving
theoretical and historical context for the practice. From
documentation of Conrad Murray's major productions, to commentary
from leading practitioners including Lakeisha Lynch-Stevens, David
Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are
treated to a detailed insight into the background of hip hop
theatre. Edited by scholar Katie Beswick and genre pioneer Conrad
Murray, Making Hip Hop Theatre is a vital teaching tool and
provides a much-needed account of a burgeoning aspect of
contemporary theatre culture.
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Wasted (Paperback)
Kae Tempest; Volume editing by Katie Beswick
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R322
Discovery Miles 3 220
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Ships in 9 - 15 working days
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Three old friends in their mid-twenties. One remarkable day. For
Ted, Danny and Charlotte, it's time to seize control. Make a
difference. Change things. This is it. A day trip through the parks
and raves and cafes of South London, where life is what you make
it. The rapid-fire words of Kate Tempest paint a picture of lives
less ordinary in an unforgiving world, soundtracked by an
exhilarating score. A play about love, life and losing your mind,
Wasted heralded the dramatic career of one of the UK's most
exciting performance poets, Kate Tempest. It was originally
produced by Paines Plough and is published here as a Methuen Drama
Student Edition alongside commentary and notes by Katie Beswick,
lecturer in Drama at the University of Exeter. The ancillary
material is geared at students and includes: - an introduction
outlining the play's plot, character, themes context and
performance history - the full text of the play - a chronology of
the playwright's life and work - extensive textual notes
Making Hip Hop Theatre is the essential, practical guide to making
hip-hop theatre. It features detailed techniques and exercises that
can guide creatives from workshops through to staging a
performance. If you were inspired by Hamilton, Barber Shop
Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a
Monster, this is the book for you. Covering vocal technique, use of
equipment, mixing, looping, sampling, working with venues and
dealing with creative challenges, this book is a bible for both new
and experienced artists alike. Additionally, with links to online
video material demonstrating and elaborating on the exercises
included, it offers countless useful tools for teachers and
facilitators of drama, music and other creative arts. Alongside
this practical guidance is an overview of hip hop history, giving
theoretical and historical context for the practice. From
documentation of Conrad Murray’s major productions, to commentary
from leading practitioners including Lakeisha Lynch-Stevens, David
Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are
treated to a detailed insight into the background of hip hop
theatre. Edited by scholar Katie Beswick and genre pioneer Conrad
Murray, Making Hip Hop Theatre is a vital teaching tool and
provides a much-needed account of a burgeoning aspect of
contemporary theatre culture.
This collection of three hip hop plays by Conrad Murray and his
Beats & Elements collaborators Paul Cree, David Bonnick Junior
and Lakeisha Lynch-Stevens, is the first publication of the
critically acclaimed theatre-maker's work. The three plays use hip
hop to highlight the inequalities produced by the UK's class
system, and weave lyricism, musicality and dialogue to offer
authentic accounts of inner-city life written by working-class
Londoners. The plays are accompanied by two introductory essays:
The first gives a specific social and historical context that helps
readers make sense of the plays, the second positions hip hop as a
contemporary literary form and offers some ways to read hip hop
texts as literature. The collection also includes a foreword by
leading hip hop theatre practitioner Jonzi D, interviews with the
Beats & Elements company, and a glossary of words for students
and international readers.
This book explores the ways that council estates have been
represented in England across a range of performance forms. Drawing
on examples from mainstream, site-specific and resident-led
performance works, it considers the political potential of
contemporary performance practices concerned with the council
estate. Depictions of the council estate are brought into dialogue
with global representations of what Chris Richardson and Hans
Skott-Myhre call the 'hood', to tease out the specific features of
the British context and situate the work globally. Katie Beswick's
study provides a timely contribution to the ongoing national and
global interest in social housing. As the housing market grows ever
more insecure, and estates are charged with political rhetoric,
theatre and socially engaged art set or taking place on estates
takes on a new potency. Mainstream theatre works examined include
Rita, Sue and Bob Too and A State Affair at the Soho Theatre, Port
at the National Theatre, and DenMarked at the Battersea Arts
Centre. The book also explores the National Youth Theatre's Slick
and Roger Hiorns' Seizure, as well as community-based and resident
led performances by Fourthland, Jordan McKenzie, Fugitive Images
and Jane English.
This book explores the ways that council estates have been
represented in England across a range of performance forms. Drawing
on examples from mainstream, site-specific and resident-led
performance works, it considers the political potential of
contemporary performance practices concerned with the council
estate. Depictions of the council estate are brought into dialogue
with global representations of what Chris Richardson and Hans
Skott-Myhre call the 'hood', to tease out the specific features of
the British context and situate the work globally. Katie Beswick's
study provides a timely contribution to the ongoing national and
global interest in social housing. As the housing market grows ever
more insecure, and estates are charged with political rhetoric,
theatre and socially engaged art set or taking place on estates
takes on a new potency. Mainstream theatre works examined include
Rita, Sue and Bob Too and A State Affair at the Soho Theatre, Port
at the National Theatre, and DenMarked at the Battersea Arts
Centre. The book also explores the National Youth Theatre's Slick
and Roger Hiorns' Seizure, as well as community-based and resident
led performances by Fourthland, Jordan McKenzie, Fugitive Images
and Jane English.
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