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Towards a Study of the English Acting Tradition

Published online by Cambridge University Press:  15 January 2009

Nesta Jones
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Abstract

Here Nesta Jones outlines the history and development of the English acting tradition, and some of the issues any such consideration raises in relation to the research project introduced in the previous article by Simon Trussler. Nesta Jones is Reader in Theatre Arts at Goldsmiths, University of London, where she was for many years Head of Drama, and now directs the innovative MA programme in Theatre Arts. She is also artistic director of the NXT company, and has most recently published File on Synge (Methuen, 1994).

Type
Research Article
Information
New Theatre Quarterly , Volume 12 , Issue 45 , February 1996 , pp. 6 - 20
Copyright
Copyright © Cambridge University Press 1996

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References

Notes and References

1. Eyre, Richard, ‘Bonfires on the Moon: Theatre of the Nineties’, Westminster Hall, London, July 1991, Utopia and Other Places (London: Bloomsbury, 1993), p. 186–7Google Scholar.

2. Ibid., p. 187.

3. Bradbrook, M. C., The Rise of the Common Player (London: Chatto and Windus, 1964), p. 134Google Scholar.

4. Barnes, Peter, ‘Still Standing Upright: Ben Jonson, 350 Years Alive’, New Theatre Quarterly, III, No. 11 (1987), p. 202–6CrossRefGoogle Scholar.

5. Cited in Behn, Aphra, The Rover, commentary by Naismith, Bill (London: Methuen, 1993), p. ixGoogle Scholar.

6. Gaskill, William, A Sense of Direction (London: Faber, 1988), p. 56Google Scholar.

7. Etherege, George, The Man of Mode, ed. Barnard, John (London: Benn, 1979), p. xviiiGoogle Scholar.

8. Trussler, Simon, The Cambridge Illustrated History of British Theatre (Cambridge: Cambridge University Press, 1994), p. 140Google Scholar.

9. Powell, Jocelyn, Restoration Theatre Production (London: Routledge, 1984), p. 87Google Scholar.

10. Gaskill, A Sense of Direction, p. 57–8.

11. Tynan, Kenneth, ed., The Recruiting Officer: the National Theatre Production (London: Hart-Davis, 1965), p. 14Google Scholar

12. Ibid., p. 16.

13. Stafford-Clark, Max, Letters To George (London: Nick Hern Books, 1989), p. 40Google Scholar.

14. Ibid., p. 21.

15. Trussler, The Cambridge Illustrated History of British Theatre, p. 177.

16. Cole, Toby and Chinoy, Helen Krich, Actors on Acting (New York: Crown, 1970), p. 134–5Google Scholar.

17. Cited in Tynan, Kenneth, ed., Othello: the National Theatre Production (London: Hart-Davis, 1966), p. 2Google Scholar.

18. Ibid., p. 2.

19. Ibid.

20. Burton, Hal, ed., Great Acting (London: BBC Publications, 1967), p. 18Google Scholar.

21. Ibid., p. 18.

22. Ibid., p. 8.

23. Ibid., p. 7.

24. Cited in Hare, David, ‘A Lifelong Satirist of Prigs and Puritans’, RSC programme for A Patriot For Me, Barbican Theatre, London, 1995Google Scholar.

25. Tynan, ed., Othello, p. 2.

26. Burton, ed., Great Acting, p. 166.

27. Ibid., p. 166.

28. Ibid., p. 167.

29. Burton, Hal, ed., Acting in the Sixties (London: BBC Publications, 1970), p. 20Google Scholar.

30. Hare, ‘A Lifelong Satirist of Prigs and Puritans’.

31. Stafford-Clark, Letters to George, p. 73.

32. Hare, ‘A Lifelong Satirist of Prigs and Puritans’.

33. Burton, ed., Acting in the Sixties, p. 69.

34. Burton, ed., Great Acting, p. 28.

35. Marowitz, Charles and Trussler, Simon, eds., Theatre at Work (London: Methuen, 1967), p. 164Google Scholar.

36. Ibid., p. 184.

37. Naismith, Bill, ‘Pinter and Englishness’, paper illustrated with live performance, Pinter Festival, Ohio State University, Columbus, 1991Google Scholar.

38. Ibid.

39. Ibid.

40. Hare, David, ‘A Note on Performance’, Plenty (London: Faber, 1978), p. 88Google Scholar.