A gripping near-future thriller in a world turned upside-down . . . for fans of Suzanne Collins, Emily St John Mandel, Bong Joon-ho's Snowpiercer.

Welcome to the Arcadia. Once a luxurious cruise ship, now it is home to the stranded. For forty years, they have lived, and died, on the water. A place of extreme haves and have-nots, gangs and make-shift shelters, its people are tyrannized by a country they can see but can't get to. A country that says it doesn't want them.

Esther is a loyal citizen, working flat-out for a rare chance to live a life on land. Nik is a rebel, intent on liberating the Arcadia once and for all. Together, they will change the future . . .

Complete with love triangles, betrayals and fights for freedom - this is the unmissable YA debut of 2022

Premiered at London's Albany Empire in 1988 and set in Deptford at the turn of the century this play traces the lives of the girls who work in the gutting sheds of the Cattle Market and how their lives are changed when the sheds are closed down. Although the girls are unwilling participants in a club founded by Lady Helena to find alternative employment the results are not without tragic consequences.11 women, 6 men

Attachment theory posits that the need for attachment is a life-long phenomenon that becomes especially relevant in times of crisis or trauma. When adults experience illness, accidents, assaults, psychological difficulties or losses, their attachment-behavioural systems are activated, motivating them to seek help and support from family and friends and/or from helping professionals. However, the resulting request for help is affected and shaped by earlier experiences regarding the support and trustworthiness of attachment figures. Can others be trusted? Is it safe to show vulnerability? How should one behave to increase the likelihood of receiving the help needed? Adult Attachment Patterns in a Treatment Context provides an integrated introduction to the subject of adult attachment. Research into adult attachment patterns offers professional helpers a theoretically sound insight into the dynamics underlying a range of client behaviours, including some of the more puzzling and frustrating behaviours such as denying obvious pain or continually pushing the professional for more personal involvement. Sarah Daniel shows how applying knowledge of attachment patterns to treatment settings will improve the way in which professionals engage with clients and the organization of treatments. This book will be relevant to a range of helping professionals such as psychotherapists, psychologists and social workers, both in practice and in training.

Elliot, a young eco-warrior, has fallen from a tree-top during a protest and now lies comatose in a hospital bed. When he fell, he slipped into the past, meeting Lucy, a troubled servant-girl and suffragette from 1913. Elliot saves Lucy's life and, by doing so, is pushed back to consciousness, but he continues to call out, in anguish, for Lucy. Alana, excluded from school for selling drugs, passionately follows all Elliot's TV news coverage and, by strange coincidence, it becomes evident that it was Alana's great-grandmother that Elliot had saved. She is able to assist Elliot's recovery as well as using the past to find peace for herself. This remarkable and timely one-act play, from the author of The Gut Girls, was specially commissioned for the BT National Connections scheme for young people in 1999.

The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance.
Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on:
* post-coloniality and performance theory and practice
* critical theories and performance
* intercultural perspectives
* power, politics and the theatre
* sexuality in performance
* live arts and the media
* theatre games.

The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance.
Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on:
* post-coloniality and performance theory and practice
* critical theories and performance
* intercultural perspectives
* power, politics and the theatre
* sexuality in performance
* live arts and the media
* theatre games.

Attachment theory posits that the need for attachment is a life-long phenomenon that becomes especially relevant in times of crisis or trauma. When adults experience illness, accidents, assaults, psychological difficulties or losses, their attachment-behavioural systems are activated, motivating them to seek help and support from family and friends and/or from helping professionals. However, the resulting request for help is affected and shaped by earlier experiences regarding the support and trustworthiness of attachment figures. Can others be trusted? Is it safe to show vulnerability? How should one behave to increase the likelihood of receiving the help needed? Adult Attachment Patterns in a Treatment Context provides an integrated introduction to the subject of adult attachment. Research into adult attachment patterns offers professional helpers a theoretically sound insight into the dynamics underlying a range of client behaviours, including some of the more puzzling and frustrating behaviours such as denying obvious pain or continually pushing the professional for more personal involvement. Sarah Daniel shows how applying knowledge of attachment patterns to treatment settings will improve the way in which professionals engage with clients and the organization of treatments. This book will be relevant to a range of helping professionals such as psychotherapists, psychologists and social workers, both in practice and in training.

"Neaptide races from domestic trauma to staff-room banter ... it bursts with provocative ideas and disturbing questions about human relationships. Most important, it shows that the facade of liberalism and emancipation is merely a translucent gloss." Jewish Chronicle Claire is a history teacher at a local school where two teenage girls have come out. Their principal, Bea Grimble, is none too impressed, and aims to have them expelled. Claire, who had been hiding the fact that she is homosexual, speaks up on behalf of the girls: this in spite of the fact that she is fighting her ex-husband Lawrence for custody of their daughter, the precocious and happy Poppy. All around Claire hardened attitudes are challenged - and confirmed - as she must decide whether to try to maintain a position of honesty, and battle hypocrisy, from within the bounds of the law, or without. A modern story of custody battles, sexual identity and gender politics, framed around the ancient myth of Demeter and her daughter Persephone. Neaptide was the winner of the 1982 George Devine Award and became the first play by a living female writer to be performed at the National Theatre, London, in 1986. This Modern Classics edition feature a new introduction by Dr Carina Bartleet.

Romantic comedy starring David Tennant as an idealistic Brit who follows an aspiring actress to LA in a search for love. Richard (Tennant) is the undertaker of a small town in England but resents the mundane nature of his life and dreams of gaining success as a writer. He meets Barbara (Vinessa Shaw), an American waitress with ambitions of becoming an actress, and the two embark on a brief affair. Though Barbara soon returns to LA, she has awakened Richard's romantic side and he follows her to America without warning. Featuring cameo appearances from Johnny Depp and Jerzy Skolimowski, the LA section of the movie follows Richard as he attempts to win Barbara over and realise his ambitions of becoming a screenwriter in the unforgiving environs of Hollywood.

Trust no one. It is six months since the Arcadia set sail for the first time in forty years. But this wasn't the freedom the inhabitants were hoping for. Esther Crossland did what she had to do, but it has left a trail of destruction in her wake. Now the wrecked ship is abandoned. Its inhabitants are in exile, trapped in sprawling make-shift shelters made up of warehouse, tents, shipping containers. Esther and Nik, architects of the rebellion, are on the run. Esther is in hiding, desperate to do something to help her people, and Nik seems to have abandoned all hope, on a journey taking him further and further from home. And neither of them want to face up to their true feelings about one another . . . Not only that, there is a new villain in town. With the fall of Commander Hadley, it's left to the ruthless Admiral Janek to deal with the traitors, and her own past is beginning to catch-up with her. Then the shaky ceasefire negotiated by General Lall, Nik's mum, falls apart. Nik and Esther find themselves in a world of betrayals and double crossings - a game of power, with no one to trust but themselves. It's time for the final showdown.

Clean Break is a British theatre company set up in 1979 by two women in prison. It exists to tell the stories of women with experience of the criminal justice system and to transform women's lives through theatre. Over 40 years, Clean Break has commissioned some of the most progressive and brilliant women writers to write ground-breaking plays, alongside developing the writing skills of the women they work with in its London studios and in prisons. This is a collection of monologues from this canon. Rebel Voices: Monologues for Women by Women celebrates the opportunities inherent when women represent themselves. Offering female performers a diverse set of monologues reflecting a range of characters in age, ethnicity and lived experience, the material is drawn from a mix of published and unpublished works. This book is for any performer who does not see themselves represented in mainstream plays, for lovers of radical women's theatre and for rebels everywhere who believe that the act of speaking and being heard can create change.