A collection of original postcards and messages from 50 illustrators across the world, working to celebrate and protect the precious life in our oceans. Each illustrator has provided an image of sea creatures, fishes or other sealife, with a message of inspiration to help point out the massive and imminent dangers climate change, pollution, over fishing and other human-led interventions are having on our oceans. The postcards are displayed under three headings: Celebrating the Ocean; The Danger to the Ocean; Take Action for the Ocean. The world-class illustrators include Axel Scheffler, Roger Mello, Barroux, Piet Grobler, Yuval Zommer, Petr Horá�ek, Jackie Morris, Nicola Davies and Jane Ray. The 35 countries represented include; Austria, Australia, Belgium, Bosnia and Herzogovina, Brazil, Canada, China, Czech Republic, Estonia, Fiji, France, Germany, Ghana, Iran, Ireland, India, Israel, Italy, \japan, Malaysia, Mexico, Netherlands, New Zealand, Norway, Portugal, Russia,  Slovenia, South Africa, Spain, Switzerland, Syria, Taiwan, Turkey, UK, USA.

The eighteenth century produced more inventive actors than fine dramatists, and it displayed its actors to increasing advantage as theatre management became more expert, and stage design more ambitious. First published in 1972, the eleven papers collected in The Eighteenth-Century English Stage, originally read at a Manchester University Symposium in July 1971, follow this historical emphasis. Two papers are centred on dramatists, four on actors, three on managers, and two on designers. Malcolm Kelsall analyses Steele's debt to Terence, using his classical scholarship as illuminatingly as Edgar Roberts uses his musical scholarship in writing about the songs in Fielding's plays. George Taylor compares and evaluates a number of theories of acting, and speculates on the likely relevance of the best-known books on rhetoric, whilst Kathleen Barker, Arnold Hare, and David Rostron consider the work of individual actors - Powell, Cooke, and John Kemble. Theatre managers are represented by John Rich in Paul Sawyer's sympathetic account, Thomas Harris, who is given new life in the recent researches of Cecil Price, and Stephen Kemble, fixed by Kenneth Robinson in canny control of the Newcastle theatre circuit. Finally, Graham Barlow reaches some controversial conclusions about the dimensions of the Theatre Royal, Drury Lane, by subjecting Thornhill's sketches to a practising designer's statistical examination, and Sybil Rosenfeld carries a stage further her pioneering work on eighteenth-century scene-painting and design. The two last are attractively illustrated by 8 pages of plates. This book's particular value lies in its bringing together several simply presented but deeply informed explorations of often neglected aspects of the eighteenth-century theatre. The papers, with their general sense of enthusiasm and concern for their subject, will interest all students of the eighteenth century, and theatre enthusiasts in particular.

The eighteenth century produced more inventive actors than fine dramatists, and it displayed its actors to increasing advantage as theatre management became more expert, and stage design more ambitious. First published in 1972, the eleven papers collected in The Eighteenth-Century English Stage, originally read at a Manchester University Symposium in July 1971, follow this historical emphasis. Two papers are centred on dramatists, four on actors, three on managers, and two on designers. Malcolm Kelsall analyses Steele's debt to Terence, using his classical scholarship as illuminatingly as Edgar Roberts uses his musical scholarship in writing about the songs in Fielding's plays. George Taylor compares and evaluates a number of theories of acting, and speculates on the likely relevance of the best-known books on rhetoric, whilst Kathleen Barker, Arnold Hare, and David Rostron consider the work of individual actors - Powell, Cooke, and John Kemble. Theatre managers are represented by John Rich in Paul Sawyer's sympathetic account, Thomas Harris, who is given new life in the recent researches of Cecil Price, and Stephen Kemble, fixed by Kenneth Robinson in canny control of the Newcastle theatre circuit. Finally, Graham Barlow reaches some controversial conclusions about the dimensions of the Theatre Royal, Drury Lane, by subjecting Thornhill's sketches to a practising designer's statistical examination, and Sybil Rosenfeld carries a stage further her pioneering work on eighteenth-century scene-painting and design. The two last are attractively illustrated by 8 pages of plates. This book's particular value lies in its bringing together several simply presented but deeply informed explorations of often neglected aspects of the eighteenth-century theatre. The papers, with their general sense of enthusiasm and concern for their subject, will interest all students of the eighteenth century, and theatre enthusiasts in particular.

This three-volume set explores the rich and complex histories of English, Scottish and Welsh theatres from early Britain to the present. Volume 1 begins in Roman Britain and ends with Charles II's restoration to the throne imminent. Volume 2 begins in 1660 with the restoration of King Charles II to the throne and the re-establishment of the professional theatre, interdicted since 1642, and follows the far-reaching development of the form over two centuries and more to 1895. Volume 3 explores the rich and complex histories of English, Scottish and Welsh theatres in the 'long' twentieth century since 1895. Original essays written by leading British and American historians and critics investigate the major aspects of theatrical performance, combining an interest in the written drama with an understanding of the material conditions of the evolving professional theatre that the drama helped to sustain.

Originally published in 1971. Nineteenth-century theatre in England has been greatly neglected, although serious study would reveal that the roots of much modern drama are to be found in the experiments and extravagancies of the nineteenth-century stage. The essays collected here cover a range of topics within the world of Victorian theatre, from particular actors to particular theatres; from farce to Byron's tragedies, plus a separate section about Shakespearean productions.

Reviews of the First Edition
`...valuable and enjoyable reading for all studying Shakespeare's plays.'
Following in the patternestablished by John Russell Brown for the excellent series (Theatre and Production Studies), he provides first an account of Shakespeare's company, then a study of three individual plays Twelfth Night, Hamlet and Macbeth as performed by the company. Peter Thomson writes in a crisp, sharp, enlivening style.' TLS
'`...the best analysis yet of Elizabethan acting practices, excavated form the texts themselves rather than reconstructed on basis of one monolithic theory, and an essay on Hamlet that is a model of Critical intelligence and theatrical invention.' Yearbook of English Studies
`Synthesizes the important facts and summarizes projects with a vigorous prose style, and expertly applies his experience in both practical drama and academic teaching to his discussion.' Review of English Studies

Reviews of the First Edition `...valuable and enjoyable reading for all studying Shakespeare's plays.' Following in the patternestablished by John Russell Brown for the excellent series (Theatre and Production Studies), he provides first an account of Shakespeare's company, then a study of three individual plays Twelfth Night, Hamlet and Macbeth as performed by the company. Peter Thomson writes in a crisp, sharp, enlivening style.' TLS '`...the best analysis yet of Elizabethan acting practices, excavated form the texts themselves rather than reconstructed on basis of one monolithic theory, and an essay on Hamlet that is a model of Critical intelligence and theatrical invention.' Yearbook of English Studies `Synthesizes the important facts and summarizes projects with a vigorous prose style, and expertly applies his experience in both practical drama and academic teaching to his discussion.' Review of English Studies

Originally published in 1971. Nineteenth-century theatre in England has been greatly neglected, although serious study would reveal that the roots of much modern drama are to be found in the experiments and extravagancies of the nineteenth-century stage. The essays collected here cover a range of topics within the world of Victorian theatre, from particular actors to particular theatres; from farce to Byron's tragedies, plus a separate section about Shakespearean productions.

This book examines the impact of the digital deluge on employees and organizations and sets out the leadership actions needed to create a corporate culture fit for the digital age. In the digital world executives are presented with exponentially more information than their predecessors were a generation ago - and yet we're not exponentially more productive. Why? Because we're using twenty-first century technology with a twentieth century mindset. Excessive working hours, email overload and invasion of private life are all symptoms of a working culture that has used technology to simply amplify old management processes rather than enable and refine newer, more productive ones. Instead of liberating us, technology has created a digital overload, accentuating the problems of presenteeism, unreasonable deadlines and management demands. Organizations need to stop using technology to turn up the volume and start using it to change the channel. Written by a unique team of experts, this edited collection covers leadership, corporate culture, technology, wellness and workplace design. It argues that digital overload is a problem of corporate culture and a failure of leadership. As such it takes leadership to fix it. Leaders who have the courage to explore alternative ways of working with technology, the enlightenment to give employees more freedom and control over their own lives, and the humility to live and demonstrate the new culture personally. Those who do this have the power to transform their organizations so they can ride the digital wave rather than be swamped by it.

Volume 1 of The Cambridge History of British Theatre begins in Roman Britain and ends with Charles II's restoration to the throne imminent. The four essays in Part I treat pre-Elizabethan theatre, the eight in Part II focus on the riches of the Elizabethan era, and the seven in Part III on theatrical developments during and after the reigns of James I and Charles I. The essays are written for the general reader by leading British and American scholars, who combine an interest in the written drama with an understanding of the material conditions of the evolving professional theatre which the drama helped to sustain, often enough against formidable odds. The volume unfolds a story of enterprise, innovation and, sometimes, of desperate survival over years in which theatre and drama were necessarily embroiled in the politics of everyday life: a vivid subject vividly presented.

This updated Companion offers students crucial guidance on virtually every aspect of the work of this complex and controversial writer. It brings together the contrasting views of major critics and active practitioners, and this edition introduces more voices and themes. The opening essays place Brecht's creative work in its historical and biographical context and are followed by chapters on single texts, from The Threepenny Opera to The Caucasian Chalk Circle, on some early plays and on the Lehrstucke. Other essays analyse Brecht's directing, his poetry, his interest in music and his work with actors. This revised edition also contains additional essays on his early experience of cabaret, his significance in the development of film theory and his unique approach to dramaturgy. A detailed calendar of Brecht's life and work and a selective bibliography of English criticism complete this provocative overview of a writer who constantly aimed to provoke.

This updated Companion offers students crucial guidance on virtually every aspect of the work of this complex and controversial writer. It brings together the contrasting views of major critics and active practitioners, and this edition introduces more voices and themes. The opening essays place Brecht's creative work in its historical and biographical context and are followed by chapters on single texts, from The Threepenny Opera to The Caucasian Chalk Circle, on some early plays and on the Lehrstucke. Other essays analyse Brecht's directing, his poetry, his interest in music and his work with actors. This revised edition also contains additional essays on his early experience of cabaret, his significance in the development of film theory and his unique approach to dramaturgy. A detailed calendar of Brecht's life and work and a selective bibliography of English criticism complete this provocative overview of a writer who constantly aimed to provoke.

Must-have guides designed to introduce students and teachers to key topics and authors. This introduction aims to share with readers the author's enjoyment of the turbulent 240-year history of a theatre that tried, often against the odds, to be 'modern'. In each of its five parts, it deals successively with history and cultural context, with the plays and the actors who caught the imagination of their era. Peter Thomson's text, always approachable, is enriched by quotations and carefully selected illustrations that capture 'the spirit of the age' under consideration. Beginning with the reopening of the playhouses under licence from Charles II, Thomson introduces the modern English theatre by breaking off at key dates - 1700, 1737, 1789 and 1843 - in order to explore both continuity and innovation. Familiar names and well-known plays feature alongside the forgotten and neglected. This is a reading of dramatic history that keeps constantly in mind the material circumstances that produced, and sometimes oppressed, a supremely popular theatre.

Volume One of The Cambridge History of British Theatre begins in Roman Britain and ends with Charles II's restoration to the throne imminent. The four essays in Part One treat pre-Elizabethan theatre, the eight in Part Two focus on the riches of the Elizabethan era, and the seven in Part Three on theatrical developments during and after the reigns of James I and Charles I. The essays are written for the general reader by leading British and American scholars, who combine an interest in the written drama with an understanding of the material conditions of the evolving professional theatre which the drama helped to sustain, often enough against formidable odds. The volume unfolds a story of enterprise, innovation and, sometimes, of desperate survival over years in which theatre and drama were necessarily embroiled in the politics of everyday life: a vivid subject vividly presented.

This book constitutes the refereed proceedings of the Third International Conference on Evolvable Systems: From Biology to Hardware, ICES 2000, held in Edinburgh, Scotland, UK, in April 2000.
The 27 revised full papers presented were carefully reviewed and selected for inclusion in the proceedings. Among the topics covered are evaluation of digital systems, evolution of analog systems, embryonic electronics, bio-inspired systems, artificial neural networks, adaptive robotics, adaptive hardware platforms, molecular computing, reconfigurable systems, immune systems, and self-repair.

Five plays by this virtuoso of the theatre have been gathered in one volume and given scholarly attention. Dion Boucicault, the most popular dramatist of the second half of the nineteenth century, was also one of the most prolific and representative. Irish in origin, he worked and wrote in England and America where for twenty years he led the touring circuit. His plays reflect the different theatrical traditions, Irish, English and American, in which he was a crucial figure. Two plays are published here for the first time this century, Used Up and Jessie Brown. The Shaughraun and The Octoroon are outstanding examples of melodrama; Old Heads and Young Hearts is one of the few notable nineteenth-century comedies. Peter Thomson's introduction assesses Boucicault's place in the nineteenth century in both England and America, and shows that his work cannot be ignored by any serious student of drama.

This 2006 introduction aims to share with readers the author's enjoyment of the turbulent 240-year history of a theatre that tried, often against the odds, to be 'modern'. In each of its five parts, it deals successively with history and cultural context, with the plays and the actors who caught the imagination of their era. Peter Thomson's text, always approachable, is enriched by quotations and carefully selected illustrations that capture 'the spirit of the age' under consideration. Beginning with the reopening of the playhouses under licence from Charles II, Thomson introduces the modern English theatre by breaking off at key dates - 1700, 1737, 1789 and 1843 - in order to explore both continuity and innovation. Familiar names and well-known plays feature alongside the forgotten and neglected. This is a reading of dramatic history that keeps constantly in mind the material circumstances that produced, and sometimes oppressed, a supremely popular theatre.

Shakespeare's career as actor and playwright reveals the extraordinary accommodation of his genius to the circumstances of his time. This unique account describes Shakespeare at work against a background of theatrical rivalry, opportunism, service to noble patrons, and political intrigue. Thomson recreates Shakespeare's writing career year by year, showing how the plays mirror their times. This account of Elizabethan and Jacobean social and professional life offers a fascinating insight into the world in which Shakespeare produced his plays. This book offers forty more illustrations than the previous Canto paperback edition.

This is the first comprehensive study in English of Brecht's Mother Courage in production. Peter Thomson provides a detailed account of Brecht's own production in 1949 and then explores how the play has been transmitted--from Joan Littlewood's production in 1956 to the Royal National Theatre in 1995. The book also examines interpretations by Judi Dench, Glenda Jackson, and Richard Schechner, among others. Seminal productions from the continent are also analyzed and a final chapter examines the play's influence on among others, Peter Brook, and highlights the new urgency of the text in light of the wars in former Yugoslavia and Uganda.

Introduction to Podopaediatrics 2/e is a concise but comprehensive introduction to the effective care of foot problems in children. Including coverage of the general specialist and medical conditions which may influence the course of the podiatric treatment. Written by a multidisciplinary international team of contributors under the editorship of a UK practitioner and an American educator and practitioner both podiatrists.Little else on this topic is available Written by a leading transatlantic team of expertsAddresses a core part of the podiatrists case load Comprehensive and up-to-dateWritten at a level appealing to both students and practitioners Concise and well-illustrated

On the short list for the 2000 USGA International Book Award for "outstanding golf book of the year," Links Golf: The Inside Story describes the beautiful land on which the links courses are built. Daley explains the term "links" and discusses their architecture, style, and great clusters. This behind-the-scenes look at the health of links golf in Britain puts an emphasis on elements that are undermining its viability and long-term future. In a time when many treeless courses are claiming to be genuine, Daley explains how to determine what is and what is not a links course. Concentrating on Great Britain and Ireland, he also discusses the vague definition of "links." He examines the unique characteristics of this early form of seaside golf, how geological processes helped shaped the land, and how links golf differs from inland golf.