Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013-2015). Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production.

Presenting a new approach to the problem of public authority liability, this volume provides a theoretical foundation in the form of principles of administrative liability that are both normatively sound and consonant with other recognized legal principles. These principles are used as criteria by which to judge the current law and as a guide to reform. Such reform could be brought about by judicial development of the law, and this volume explains how. It considers both the procedural and the substantive divides between public and private law and explains the proposed solution's relation to the forms of public authority liability already present under European Community law and the Human Rights Act. Focusing in particular on UK law, the book is also relevant to other Commonwealth countries and will be of interest to scholars and practitioners of both tort and public law.

Presenting a new approach to the problem of public authority liability, this volume provides a theoretical foundation in the form of principles of administrative liability that are both normatively sound and consonant with other recognized legal principles. These principles are used as criteria by which to judge the current law and as a guide to reform. Such reform could be brought about by judicial development of the law, and this volume explains how. It considers both the procedural and the substantive divides between public and private law and explains the proposed solution's relation to the forms of public authority liability already present under European Community law and the Human Rights Act. Focusing in particular on UK law, the book is also relevant to other Commonwealth countries and will be of interest to scholars and practitioners of both tort and public law.

Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013-2015). Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production.

The culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov’s technique can be used across the disciplines of contemporary performance and applied practice. In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinéad Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially-engaged and therapeutic practices, all of which are at the forefront of international theatre-making. The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov’s technique, providing practical strategies and principles alongside theoretical discussion.

Building on a series of ESRC funded seminars, this edited collection of expert papers by academics and practitioners is concerned with access to civil and administrative justice in constitutional democracies, where, for the past decade governments have reassessed their priorities for funding legal services: embracing 'new technologies' that reconfigure the delivery and very concept of legal services; cutting legal aid budgets; and introducing putative cost-cutting measures for the administration of courts, tribunals and established systems for the delivery of legal advice and assistance. Without underplaying the future potential of technological innovation, or the need for a fair and rational system for the prioritisation and funding of legal services, the book questions whether the absolutist approach to the dictates of austerity and the promise of new technologies that have driven the Coalition Government's policy, can be squared with obligations to protect the fundamental right of access to justice, in the unwritten constitution of the United Kingdom.

Building on a series of ESRC funded seminars, this edited collection of expert papers by academics and practitioners is concerned with access to civil and administrative justice in constitutional democracies, where, for the past decade governments have reassessed their priorities for funding legal services: embracing 'new technologies' that reconfigure the delivery and very concept of legal services; cutting legal aid budgets; and introducing putative cost-cutting measures for the administration of courts, tribunals and established systems for the delivery of legal advice and assistance. Without underplaying the future potential of technological innovation, or the need for a fair and rational system for the prioritisation and funding of legal services, the book questions whether the absolutist approach to the dictates of austerity and the promise of new technologies that have driven the Coalition Government's policy, can be squared with obligations to protect the fundamental right of access to justice, in the unwritten constitution of the United Kingdom.

The culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov's technique can be used across the disciplines of contemporary performance and applied practice. In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinead Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially engaged and therapeutic practices, all of which are at the forefront of international theatre-making. The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov's technique, providing practical strategies and principles alongside theoretical discussion.