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 performing strategies and opinion of theatre's ongoing function and serve as within the moment 1/2 the twentieth century.
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Additional resources for Directors’ Theatre
The company that had come together after the war remained largely unchanged during the first post-war decade and many of its members have since expressed the conviction that this was the greatest learning experience of their lives. The work was genuinely experimental: each new production was an opportunity to tryout new combinations of text, sound, light, movement. There was less emphasis on the study of earlier directors and more on the development of skills within the company, and this was to lead to the emergence of an identifiable Theatre Workshop idiom.
When Raffles died in 1975 she went to live in France and ceased theatre work altogether. Littlewood's influence on the British stage has been 49 Directors' Theatre incalculable. Actors who worked with her invariably say that they never learned so much nor felt so alive. Directors and designers, from Peter Hall and John Bury at the National Theatre downwards, all acknowledge their debt to her. For Stanley Reynolds, writing in The Guardian (25 June 1984), 'the theatre you see today is the theatre that Joan Littlewood created'.
2ND NARRATOR (speaking). Here the sun is an amber flood and the moon a thousand-watt spot. 1ST NARRATOR (singing). Here shall be space Here we shall act time. 2ND NARRATOR (speaking). From nothing everything will come. 1ST NARRATOR (singing). On this dead stage we'll make Society appear. 4 2ND NARRATOR As this extract shows, the company established from the outset a very particular relationship with its audience. It was very much the same as that demanded by Brecht: not the dull, emotionless style that passes for 'Brechtian', but something vital, if contradictory.