By David Bradby
The significant displays of 7 post-war administrators are tested intimately, with emphasis on each one individual's therapy of vintage performs, method of appearing options and opinion of theatre's ongoing function and serve as within the moment half the 20 th century.
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Extra resources for Directors’ Theatre
Onto these screens were thrown 44 Joan Littlewood 2a. Oh What a Lovely War (1963): Bayonet drill sequence in Act I images, contemporary photographs of First World War soldiers, which both anchored the play in the reality of the Flanders mud and contrasted with the Merry Roosters on stage. In addition, a light-screen of the type used to flash up news bulletins was placed high up running across the width of the stage. g. 'NOVEMBER . . SOMME BATILE ENDS . . TOTAL LOSS 1,332,000 MEN . . GAIN NIL'.
50 3 Boger Planchon Planchon's contribution to directors' theatre is rather different from Joan Littlewood's, though grounded in a comparable vision of theatre for the people. Just as Littlewood remained faithful to Stratford East, so Planchon has refused to move from Villeurbanne, a working-class suburb of Lyon, and has had the satisfaction (denied to Littlewood) of seeing the cultural authorities endorse this stand, transferring the prestigious title 'Theatre National Populaire' from Paris to Villeurbanne.
Her refusal to follow the established paths and conventional wisdoms produced failures as well as successes: had she been less stubborn, she might have accepted Carl Weber's help with Mother Courage and gone on to introduce more of Brecht's work to Britain. But in this refusal lay her consistency as a human being and her vitality as an artist and teacher. 50 3 Boger Planchon Planchon's contribution to directors' theatre is rather different from Joan Littlewood's, though grounded in a comparable vision of theatre for the people.