Edward Bond - Knowledge

40: 636:. The play follows the decay of an ageing tyrannical king. Betrayed by his two cynical daughters; hounded as a political risk following military defeat; pursued by the ghost of a man whose life he has destroyed and whose death he has caused; imprisoned and tortured until enucleated; after a life of violence he finally finds wisdom and peace in a radical opposition to power. The end of the play shows him as a forced labourer in a camp setting an example for future rebellion by sabotaging the wall he once built, which subsequent regimes keep perpetuating. David L. Hirst wrote that 1178:), he suggested an improvisation in which a soldier was ordered to kill a child of his community to curb mass starvation. According to Bond, each student who improvised as the soldier refused to kill a foreign child and paradoxically returned home to kill their own sibling instead. He saw in this a deeply rooted force in the individual preserving an innate sense of justice that he theorized as 'Radical Innocence'. Subsequently, he built on this concept a comprehensive theory of drama in its anthropological and social role that he intended to go beyond 6267: 669:, dominated by a dictatorial woman and overwhelmed by the drowning of one of its young citizens. Nurtured by his experience as a child evacuee to the seaside, the play is subtitled "a comedy" and was intended as optimistic after the gloomy mood of his previous plays. This is encapsulated by the successful escape of a young and promising couple from this narrow and oppressive society. This play would be the last of Bond's plays that was directed by Gaskill. 1205:(written for the RSC) re-enacts the Palermo improvisation in a city barely surviving in the aftermath of nuclear bombardment. It focuses on a soldier who kills his baby sister and his mother who tries to kill her neighbour's child to save her own. The play then follows her twenty years later, in the sterile global wilderness that nuclear war has made of the world, where she rebuilds her humanity bit by bit by meeting other survivors. 1121:, Bond "reduced a talented cast into a stumbling and incoherent shambles of walking wounded. Edward Bond is simply the most difficult person I have worked with in 40 years." He then decided not to allow his plays to be premiered in London by institutional theatres without proper working conditions. He only agreed to return to the RSC in 1996 when he directed 1381:"ends on an odd note of anti-climactic ritual. It is clear that the author intends his play to be deeply meaningful, and to explore issues such as justice, freedom and interpersonal dependency. Little of this comes across as the characters address each other in artificial dialogue and the plot becomes steadily more improbable a leaden, pretentious play." 1442:(2009). Big Brum appeared to be the only professional company in England for more than two decades that Bond openly wrote for and allowed to premiere his plays. This collaboration has brought Bond's theories on drama to broader attention in England, where they are now relayed by the National Association for Teaching of Drama. In 1999, he wrote 1085:

requirements, and Bond complained undiplomatically about their lack of artistic engagement and had crude rows both with some reluctant actors and theatre managers. He felt that British theatre had no understanding of his intention to revitalise modern drama and could no longer fulfil his artistic demands.

1716:

panned the first 20 minutes of the latter play as "a parody of the work of Edward Bond" and the rest of the play as "more of the same this is apparently part of a much longer work (be afraid, be very afraid) examining the inadequacy of modern drama. But it does not examine this; nor does it act as a

1457:

that "we are responsible for our actions. The characters could be developed more; it is very hard to empathize with the Student because the audience doesn't really know him. We know his actions, and they are deplorable, but we don't really understand him. Perhaps this was the playwright's intent. We

1345:

Carl Miller dubbed it "dense, theatrically sophisticated writing", and a powerful play. Adrian Turpin reported being "defeated by large chunks of dominates the play's first half". Turpin said that Bond's humanism at times "breaks through his rhetoric, shedding a ray of light on the text's opacity",

823:

in 1976, the RSC revived and toured his plays regularly until the early 1990s, and Bond, though often disagreeing with the aesthetic choices of its productions or protesting at not being consulted sufficiently, recognized the genuine support the company gave to his work. In 1977 the RSC commissioned

741:

Bond remained a successful playwright in England all through the 1970s, expanding his range of writing and his collaborations. His plays were requested by institutional and community theatres, for premieres and revivals, and he was commissioned to write plays both by renowned institutions and fringe

475:

delves into the lives of a selection of South London working-class youths suppressed – as Bond would see it – by a brutal economic system and unable to give their lives meaning, who drift eventually into barbarous mutual violence. Among them, one character, Len, persistently (and successfully) tries

1462:

website that "Bond wants to bring out how school and family – the very institutions which are supposed to benevolently nurture childhood – start corrosively exercising repressive ownership and control of the child-self and yet the society is so ideologically blinded towards such occurrences that we

317:

At fifteen, he left school with only a very basic education, something from which he derived a deep sense of social exclusion that contributed significantly to his political orientation. Bond then educated himself, driven by an impressive eagerness for knowledge. After various jobs in factories and

1293:

will control all production indiscriminately"; however, the critic said that "the contrasting moods of the text were missed in performance: the black farce of Oldfield's demise, for instance, did not seem to be appreciated as such". Anthony Jenkins dismissed the play as "a rambling, self indulgent

860:

performance as "utterly frustrating". While praising the choreography and direction, Bruckner said that "one finds it impossible to say what it was all about" and described the philosophizing of the last hour as "portentous". However, in a 1998 review of the fifth collection of Bond plays, Richard

495:

included a scene featuring the stoning to death of a baby in its pram. The Lord Chamberlain sought to censor it, but Bond refused to alter a word, claiming that removing this pivotal scene would alter the meaning of the play. He was firmly backed by Gaskill and the Royal Court although threatened

1303:

called the play "interminable" and wrote, "Bond does not seem to have acquired the ability to distinguish between the genuine moments of surreal comedy in the script and the parts where it is straight-facedly unaware of its side-splitting potential. It's an indictment of something (the English

651:

praised Bond as "one of the foremost writers of his generation, although you'd never think so if you lived in England, a country which treats him with a disdain that would be inconceivable on the Continent. On the Continent, where there is a long tradition of political theater, these works are

1288:

was a critical and commercial success in France, Jenny Kowalski noted that the RSC production received almost overwhelmingly negative reviews, explaining that it "was the language of the long speeches, both in its detail and in its sheer quantity, that proved to be the stumbling block for most

1201:(written for a young activists' company), denounces capitalist society's ideology of death. It shows a community of survivors living on an infinite supply of canned food running berserk when they feel threatened by a stranger and destroying all they have as in a reduced nuclear war. The third, 1084:

called the play "magnificent" in 2006. However, Bond's working relationships as a director with both the National Theatre and the Royal Court were highly conflicted. The theatres and their actors accused him of being authoritarian and abstract in his direction and unrealistic in his production

1577:

During the early years of the 21st century, there was renewed worldwide interest in Bond's work and ideas on drama. In France, he held several conferences with participants drawn from a wide audience, directed many workshops in Paris and elsewhere, and was the most performed playwright after

1406:

follow the actions of militarized policemen, the 'Wapos', who perpetrate atrocities on reluctant civilians during mass deportations, but some of whom try to find a human dimension to their lives and desperately attempt to escape the alienated and criminal conditions they are trapped in.

840:, the play shows an eventually successful revolution whose leader nevertheless constantly faces the human cost of political change and experiences as futile an ideology of compassion, being (in Bond's view) politically counterproductive and supportive of reactionary violence. 1458:

still hope that the Student will change, will become better, but when he doesn't, we then have to look inward to ourselves and begin the questioning process. Edward Bond does a good job of pushing us toward this point." Conversely, it was claimed in a text released on the

1182:'s theories on political drama. This discovery also gave him the key to write on nuclear war, not just to condemn the atrocity of war in a general way but, from a political perspective, questioning public acceptance of it and collaboration with it by ordinary citizens. 1000:

During the late 1970s, Bond felt he needed practical contact with the stage to experiment with his ideas on drama and improve his writing. He therefore began directing his own plays and progressively he made this a condition of their first production. After staging

275:(1985). Bond was broadly considered among the major living dramatists but he has always been and remains highly controversial because of the violence shown in his plays, the radicalism of his statements about modern theatre and society, and his theories on drama. 438:" and that later works are seen as minor, while in France he was equally well known for newer works. In 2005, Lyn Gardiner wrote that his body of work in the previous 20 years "stands alongside his classic plays". In 2007, Peter Billingham listed the later works 549:. The Royal Court produced the play despite the imposition of a total ban and within a year the law was finally repealed. In 1969, when the Royal Court was finally able to perform Bond's work legally, it put on and toured the three plays in Europe, winning the 6194: 1220:

These desperate efforts to stay human or be human anew in an inhuman situation would be the purpose of most of the characters in Bond's subsequent plays, the scope of which will be to explore the limits and possibilities of humanity. His next play,

682:, about the suppression of adolescent sexuality. The play had always been censored or presented with major cuts since its writing, and Bond's was the first translation to restore Wedekind's original text, including its most controversial scenes. 1333:

massacre, where the same characters are among the victims. As in the Palermo improvisation, a soldier realises he cannot shoot the victims any more, and eventually decides instead to shoot his officer and escape with the girl. Saunders listed

1304:

institutions that now turn down Bond's scripts or the scripts themselves for being – for all one knows – so turndownable) that a dramatist of his penetration should have lost contact with an English audience's psychology to this degree."

1397:

show the monotonous life of the cities, where social relationships and memory have been abolished, consumption and possession standardized, and where people are harassed by the resistance of their imagination and panicked by strangers.

1702:

wrote, "There is some hard, unflinching writing here, but uncertain performances and an awkward, often unintentionally comic production make this seem perilously close to a parody of an Edward Bond play." Conversely, Mark Taylor of

1366:

From 1997 to 2008, Bond's plays explored in depth a gloomy vision of a future society (in 2077) where the potential menaces of social breakdown and bio-political control have become real and structural. The first in this cycle,

295:

in 1940 and 1944. This early exposure to the violence and terror of war probably shaped themes in his work, while his experience of the evacuation gave him an awareness of social alienation which would characterise his writing.

1707:

wrote that "as its plot takes the path of least resistance between one primal convulsion after another, this starkly eloquent, theatrically knowing play stretches credulity to snapping point. It's no wonder that the tone of

1125:, but considered this production a failure. He nevertheless regularly accepted revivals and sometimes got involved in these productions, although remaining generally unsatisfied, and he directed workshops for RSC actors with 476:

to maintain links between people violently tearing each other to pieces. The play shows the social causes of violence and opposes them with individual freedom. This would remain the major theme throughout Bond's work.

5031: 6191: 1225:, again uses the Palermo improvisation and sets up a confrontation between two young men manipulated by military conspiracies, first in medieval Japan, then in contemporary urban riots. Sometimes the portion in 812:"problematic in structure because Bond couches the theme in the framework of pseudo-Biblical allegory. The play deals with many complex issues difficult to express in the rather clear-cut nature of allegory." 553:

prize. The experience of prosecution and mutual support sealed a link between Bond and the Royal Court where all his plays (except external commissions) would be premiered until 1976, most directed by Gaskill.

5770:

at the Manoel Theatre in Valletta and then in August at the Edinburgh Fringe Festival. This is the first time that an international playwright of Edward Bond's calibre has been commissioned by a Maltese

1059:

in 1983 as "pallid and inept", and "torpid As characters, Xenia and Marthe do not have the depth that might relieve some of the tedium. Mr. Bond's deterministic view of society reduces them to symbols".

1216:

was quite successful, and that in France the work "was described as the most important play written since the Second World War." In 1996, however, Janelle G. Reinelt described the reception as "chilly".

313:

which was revelatory. He later explained that this performance was the first time he had been presented with traumatic experiences comparable to his own in a way he could apprehend and give meaning to.

325:

Back in London, he educated himself in theatre while working, saw everything he could on stage and exercised his skill by writing drama sketches. He was especially impressed by the performances of the

1610: 1371:, shows a few outcasts who have fled the over-controlled cities to hide in a no-man's-land where they try in vain to rebuild their humanity by creating a semblance of community. Gerry Colgan wrote in 1450:. This other contribution to drama intended for young audiences has been performed ever since in many schools and theatres in England and abroad and counts as one of Bond's international successes. 496:

with serious trouble. Formation of a theatre club normally allowed plays that had been banned for their language or subject matter to be performed under "club" conditions – such as that at the

1197:), is a short agitprop play in which a child, aborted and burnt to death in the nuclear global bombings, comes from the future to accuse the society of the audience of his murder. The second, 1414:-based theatre-in-education company Big Brum, of which he remained an associate artist. From 1995 to 2009 he wrote seven very different plays dedicated to young audiences for this company: 1088:

With his notoriously uncompromising attitude, Bond gained the reputation of a "difficult author", which contributed to keeping him away from the major English stages. During the mid-1980s,

1280:

shows a desperate fight by the adoptive son of an armaments factory manager to be who he is in a cynical, intrigue-ridden neo-liberal business world that Bond considers the mirror of our

1109:

at the RSC, accepting very bad working conditions, but left the rehearsals before the premiere after disastrous sessions, and then violently criticized the production and the theatre.

458:

among the major plays. Billington argued that "even if in his later years Bond seems to start from a position of dogmatic certainty, he retains his ability to create durable images."

4051: 1478:

in 1994, re-introducing Bond's work to France where his plays and theory have since become highly influential. Françon continued to promote Bond's work when he was head of the

968:, deals with working-class support for the Tories by showing a servant accepting his conviction and eventual execution for a murder committed by his cynical and silly master. 561:

became the greatest international success of its time with more than thirty different productions around the world between 1966 and 1969, often by notorious directors such as

1289:

critics." Kowalski praised "Bond's fine sense of style and rhythm" and argued that "one of the points made by the play is that we are moving towards a future where the huge

5977:

His death was confirmed by a representative for his talent agency, Casarotto Ramsay & Associates, who said Mr. Bond died in London but did not share additional details.

2286: 5162: 695:

as an exploitative landlord, an impotent yet compassionate witness of social violence, who eventually commits suicide, repeatedly asking himself "Was anything done?".

5057: 2736: 299:

His first contact with theatre was music-hall, where his sister used to be sawn in two in a conjuror's sideshow. At fourteen, with his class he saw a performance of

3027:

Four Pieces; Introduction to Bingo, Bingo; Introduction to The Fool; The Fool; Clare Poems; The Woman; Poems, Stories and Essays for The Woman; Author's note; Stone

923:

examination) and he began to take up students workshops in Newcastle, Durham and Birmingham, for which he wrote several plays. The most accomplished among them was

7162: 7152: 5677: 2203:, Royal Shakespeare Company, Barbican Pit, London, 17 July 1985; premiered as a trilogy: Nick Hamm, Royal Shakespeare Company, Barbican Pit, London, 25 July 1985 373:

which shows, through a set of tragic circumstances, the death of rural society brought about by modern post-war urban living standards. Michael Mangan writes in

288: 401:

that the play was praised as an "auspicious beginning for a new playwright". In 1980, academic Frances Rademacher listed it among Bond's major plays. In 2014,

1410:

Though isolated from the institutional British theatres, Bond found two new partners in the mid-90s who would keep alive his impulse for writing. One was the

992:

and shows an idiotic aristocrat stealing the brain of a gifted worker and sending him to die in a war in a country that "sounds like the name of a disease".

5964: 1142:

These conflicts are still highly controversial, and Bond and those with whom he had clashed continued to settle scores in letters, books and interviews.

322:

between 1953 and 1955. During his time in the army he discovered the naked violence hidden behind normal social behaviour, and decided to start writing.

39: 7197: 4783: 2364: 2224: 5184: 1828: 5591: 4926: 7177: 2212: 2192: 980:. One is the daughter of former landlords, whose compassionate nature does not prevent them from being exploiters and collaborationists during the 566: 2097: 1832:, a collection of writings on theatre and the meaning of drama. He has published two volumes from his notebooks and four volumes of letters. His 1582:(according to Lynne Walker in 2005). He was invited to take part in conferences and workshops all over Europe and America. In the United States, 1570:, "It was all so powerful and demanding that at the end of it I fell into a disturbed sleep for an hour and a half." In 2005, David Davis lauded 755: 1742:. Both of these plays were filmed and made available online. In 2014 Big Brum Theatre in Education Company presented its tenth new Bond play, 1274:, that "the awareness that this is minor stuff slowly but surely leaks in. his weakness for point-making gets in the way of his characters." 1859: 1562:, Lyn Gardner wrote, "This is a knotty and uncomfortable play of austere poetry and vision, written by a playwright who is like a latter-day 1174:. To point to the barbarity of a society which planned to kill the enemy's children to protect their own (that being how he saw the logic of 4090: 6583: 3993: 3406: 815:

However, Bond's working relationship with the Royal Court progressively slackened, and by the mid-1970s he had found a new partner in the

5005: 3687: 2459:(2010) (early version of the first part of Dea) Adam Spreadbury-Maher, Good Night Out Presents, The Cock Tavern Theatre, 26 October 2010 7167: 7157: 6467: 6294: 1766:

argued, "Dea is not just a shock-fest — the play is a deep, poetic, complex investigation of the condition of 21st century society."

4151: 4858: 3755: 1900:, Bond himself considered these works strictly as potboilers and often became frustrated when further involved in cinema projects. 1041:, as examples of a problem in Bond's later plays of protagonists who are either virtuous or evil, lacking complexity. Innes dubbed 6169: 1350:

onward "tended to combine vivid observation with a preachy radicalism that could take disconcertingly hardline forms" but praised

6025: 5989: 5856: 3051:

The Cap; The Crime of the Twenty-first Century; Olly's Prison; Notes on Imagination; Coffee; The Swing; Derek; Fables and Stories

1329:, in which a mother kills her child because she can no longer feed her, with a second, realistic part reproducing the historical 550: 4222: 3657: 1680:

in London produced six of his plays simultaneously (one chosen from each decade), including a new one, provisionally entitled

1566:: sometimes gnomic, but seldom wrong". Gardner described the play as having "understated power". In 2002, Arthur Smith said of 7192: 7172: 6611: 6142: 6121: 5549: 4953: 4910: 4520: 4400: 4362:

see Ian Stuart: Politics in Performance, the Production Work of Edward Bond, 1978 1990, New-York, Peter Lang Publishing, 1996

1712:'s unsparing, production teeters uncertainly at times between seriousness and melodramatic spoof." Also, Ian Shuttleworth of 808:"Bond borrows cleverly and skillfully from the caricature and dialect of the American tall-tale and folk legend." She found 5749: 4417: 422:

wrote in 2001 that most critics consider Bond's best works to have been written between 1965 and 1978. A 2011 editorial in

6186: 5539: 1209: 1479: 709:

of 1816, and then makes his own poetry the depository of the spirit of this rural rebellion against the growth of modern

413: 6241: 5616: 5205: 7182: 5310: 5231: 5135: 4332: 1139:), Bond continued writing plays in the knowledge that they would not be staged in Britain except by amateur companies. 542: 4450: 6502: 6262: 6100: 6079: 6058: 5119: 3219: 5948: 5782: 5083: 4670:

II, Luxembourg, Harwood Academic Publishers, 1995, pp. 83–92 and Letter to D. Jansen, 3 October 1989, in

1321:, a young deserter tries to tell the truth about the war but is destroyed by society. More innovative in structure, 6576: 3623: 1459: 2297:"a tragedy" (1993–94) Dan Baron Cohen, The Rational Theatre Company, Chapter Art Centre, Cardiff, 27 November 1996 984:. The other, the daughter of servants, rejects the values of the former, whom she once saved from a firing squad. 5797: 5253: 4601:

II, Luxembourg, Harwood Academic Publishers, 1995, pp. 89–90; to M. Stafford-Clark, 24 April 1990, in

3721: 1844:

In the late 1960s/early 1970s Bond also made some contributions to the cinema. He wrote the English dialogue for

981: 369:

in 1962. This is a falsely naturalistic drama (the title refers to "an impossible ceremony") set in contemporary

6187:

Special issue of La Colline's Revue Electronique on Bond with pictures from performances, documents and analysis

2305:(1995) Geoff Gillham, Big Brum Theatre in Education Company, Broadway School, Aston, Birmingham, 16 October 1995 1684:, commissioned for this occasion and performed although unfinished. Notably, Bond himself directed a revival of 569:

in France. At that time, the play was controversial everywhere but is now considered as a 20th-century classic.

430:

parables". Graham Saunders argued that in Britain he was "most associated with work produced in the period from

6174: 5565: 4791: 4640:

Letter to T. Hands, 10 January 1986, to Yvonne Bryceland 17 December 1986, to B. Alexander, 6 January 1988, in

1731: 582:(1968), which received generally positive reviews, was for the Coventry People and City Festival. He wrote two 504:

were prosecuted. An active campaign sought to overturn the prosecution, with a passionate defence presented by

416:

and the theatre-in-education company Big Brum to be his most important works. However, Benedict Nightingale of

5375: 6806: 6653: 6631: 6348: 6287: 3352:"The French think Bond is among the greatest British playwrights and theatre's most important theorist since 3336: 2108:"scenes of war and freedom" (1974–1977) Edward Bond, National Theatre (Olivier Stage), London, 10 August 1978 1959: 1770: 706: 640:

divided both critics and audiences while Ronald Bryden reported that the play garnered acclaim from critics.

578: 240: 4605:

III, Amsterdam, Harwood Academic Publishers, 1996, pp. 129–135; to D. Jansen, 3 October 1989, in

3647:"I admit that the Bond I honour most is that of the masterly early plays: The Pope's Wedding, Saved, Bingo." 1067: 6917: 6516: 5831: 488: 20: 5643: 848:

as "a thin political parable made up from ingredients that we have been served before. It is a warmedover

7187: 7042: 6569: 6488: 2912: 1868: 1029:, whom Bond admired, considering her the ideal female interpreter. In 2002, Christopher Innes criticized 697: 402: 2530:(1992), shot in March 1993 (Sharon Miller and Edward Bond), broadcast: BBC Schools Television, June 1993 1622:. In Britain his plays are now regularly revived in community theatre and in 2008, he enjoyed his first 1070:

and the production was acclaimed as an aesthetic success, especially for its innovative use of the huge

6626: 6523: 4766: 2735:, "Ein Geschichte für Sänger und Instrumentalisten von Edward Bond", Parnassus Orchestra London, dir.: 2187:), Royal Shakespeare Company, pour le festival "Thoughtcrimes", Barbican Pit, London, 19 January 1984; 1762:, with Dominic Maxwell of the latter publication referring to it as "awful". Conversely, Tom Bolton of 1603: 1587: 1583: 1325:

exposes the cultural roots of violence. It contrasts an initial, imaginary section resembling a gloomy

319: 6258: 4618:

P. Hall: Diaries, The Story of a Dramatic Battle, London, Hamish Hamilton, 1983, see: March–April 1978

3930: 1815:

and imagination and develop a comprehensive theory on the use and means of drama. Nine volumes of his

6956: 6882: 6638: 6550: 5401: 3373: 2767: 2215:, Department of Theatre Studies, University of Lancaster, Nuffield studio, Lancaster, 24 January 1989 2147:"a European play" (1980–81) Edward Bond, National Theatre (Cottlesloe Stage), London, 27 January 1982 1997: 1466:

Bond's other partnership during his final years was with French director Alain Françon who premiered

1290: 1248:

as "an astonishingly powerful piece of political, polemical poetry". In 1993, Christine Shade listed

1080:

so as to cast the image of that society into the present and inform contemporary political opinion."

932: 857: 816: 341:, which Bond kept unpublished in perpetuity) he was invited to join its newly formed writers' group. 519:

Bond and the Royal Court continued to defy the censor, and in 1967 produced a new play, the surreal

6799: 6722: 6460: 6439: 6280: 3309: 2232: 2118: 1774: 1627: 545:

plotting a coup and the whole dramatis personae damned to a cannibalistic Heaven after falling off

6247: 5703: 5427: 5109: 3033:

The Worlds; The Activists Papers; Restoration; Restoration Poems and Stories; Summer; Summer Poems

947:

as an example of a work in which Bond "integrates the grotesque more successfully into the plot."

939:. Reception was mixed. Demling, noting that audience reactions to the most controversial scene in 6977: 6643: 6495: 6432: 6363: 6353: 5453: 4255: 2053: 1677: 1637: 951: 674: 5513: 5487: 4295:"A Review of Plays: 5 (Human Cannon, The Bundle, Jackets, In the Company of Men) by Edward Bond" 3021:

Introduction; Preface to Lear; Lear; The Sea; Narrow Road to The Deep North, Black Mass; Passion

6922: 6453: 6223: 2944: 2877: 1981: 1888: 1851: 1313:, a man who has killed his daughter and forgotten his crime tries to find meaning in his life. 562: 509: 284: 4979: 4390: 6111: 5766:

On 8 April 2016, Unifaun Theatre Productions and Teatru Manoel will premiere his latest play

2949: 2270: 2073: 1893: 1709: 1475: 1089: 710: 513: 501: 6175:

Collection of videos from the Théâtre de la Colline including Bond holding a speech in 2001

6132: 5185:"Chapter Five – Mentoring the Ethics and Politics of Young Spectators: The Birmingham Plays" 3407:"Edward Bond, playwright whose sex and violence defeated the censor in the 1960s – obituary" 2893: 2313:(1995–1997) Geoff Gillham, Big Brum Theatre in Education Company, Birmingham, 7 October 1997 943:

partially resulted from its break in style from previous episodes' domestic realism, listed

644:'s 1975 production of the play "established Bond as a major contemporary figure in France". 7147: 7142: 6545: 6446: 5728: 5349: 4040:, Student Edition, with Commentary and Notes by Patricia Hern, Londres, Methuen Drama, 1983 2835: 2248: 2129:(1979) Edward Bond, Newcastle University Theatre Society, Newcastle Playhouse, 8 March 1979 1670: 977: 965: 936: 928: 912: 794: 773: 591: 530: 4927:"Revival of play first performed by Harry Potter star at Lancaster | Lancaster University" 8: 7080: 7063: 7047: 4752: 4730:"A Political Language for The Theatre: Edward Bond and the Royal Shakespeare Company" in 4685: 4537: 3797: 3412: 2334: 1801: 1623: 1096:, written for Yvonne Bryceland and the wide stage of the Olivier. Richard Boon described 852:

fast. The language has been stripped, but for emptiness rather than leanness." In 1996,

759: 366: 330: 6266: 6158: 4744: 4482:

Ian Stuart: "Edward Bond on the English Stages in 1991–92 in New Theatre Quarterly 1992"

3879:, Student Edition, with Commentary and Notes by David Davis, London, Methuen Drama, 2008 2355:(2002) (stage version) Christian Benedetti, Studio Théâtre, Alfortville, 28 October 2002 1185:

Between 1984 and 1985 he wrote three plays to meet various requests, which he united as

1045:

the "only play to rise above this simplification in the recent phase of Bond's career".

1009:, in Vienna in 1973, Bond directed his last four plays in London between 1978 and 1982: 865:"a genuine and shamefully-neglected masterpiece, worth the cost of purchase by itself". 713:. The failure of this historical class war eventually drives him to a madhouse. In 1976 6700: 6592: 6474: 6029: 5993: 5922: 4881: 4755: 4071: 3892: 3859: 3851: 3778: 3601: 2956: 2905: 2347:(2000) Chris Cooper, Big Brum Theatre-in-Education Company, Birmingham, 2 November 2000 2134: 1820: 1539: 1163: 1110: 1051: 960: 608: 468: 439: 418: 263: 235: 177: 5860: 1616: 1482:

in Paris from 1997 to 2010 and, with strong support and involvement from Bond, staged

1346:

but deemed the play impenetrable. Benedict Nightingale said that most Bond plays from

641: 6214: 6138: 6117: 6096: 6075: 6054: 5956: 5882: 5805: 5651: 5545: 5461: 5115: 4906: 4885: 4693: 4516: 4458: 4425: 4396: 4375:: "A Power to Hold the Stage, Yvonne Bryceland: An Appreciation" 17 January 1992, in 4314: 4263: 4230: 4098: 4001: 3843: 3782: 3729: 3695: 3631: 3605: 3593: 3215: 2900: 2763: 2703: 1785:

Bond was married to Elisabeth Pablé from 1971 until her death in 2017. They lived in

1721: 1606:

in New York City. In Germany, interest in his plays has remained high since the 1970s

1175: 955: 853: 785: 781: 484: 326: 225: 100: 3863: 2873: 2395:(2005), Alain Françon (as "Les Gens") Théâtre Gérard Philipe, Paris, 13 January 2014 2379:(2003) Chris Cooper, Big Brum Theatre in Education Company, Birmingham, October 2003 1463:

talk endlessly about adolescent crimes and the problem of the irresponsible youth."

1150:

Nevertheless, in the mid-1980s, Bond's work had a new beginning with the trilogy of

976:

deals with the moral ambiguities of capitalism through the conflict of two women in

7085: 6665: 6540: 6398: 6219: 5620: 5311:

http://www.dailymotion.com/playlist/x147do_www-colline-fr_edward-bond-alain-françon

4873: 4306: 4207: 4063: 3835: 3770: 3585: 2928: 2884: 2803: 2785: 2256: 1969: 1913:(Dates of writing, followed by director, place and date of world première, if any) 1878: 1655: 1309: 1131: 1076: 1026: 833: 825: 648: 505: 64: 7111: 3069:

Dea, The Testament of this Day, The Price of One, The Angry Roads, The Hungry Bowl

573:

was initially panned but garnered praise from a number of writers in later years.

7025: 6907: 6742: 6690: 6304: 6203: 6198: 6090: 6069: 6048: 4900: 4644:

II, Harwood Academic Publishers, 1996, pp. 88–90, pp. 58 & 68

4510: 4496: 3369: 3209: 2985: 2933: 2921: 2504: 2408: 2400: 2342: 2167:(1979–1983) Dan Baron Cohen, Quantum Theatre Company, Manchester, 2 February 1986 2047: 2025: 2011: 1951: 1937: 1923: 1873: 1786: 1550: 1373: 1299: 1159: 1155: 916: 800: 768: 480: 283:

Thomas Edward Bond was born on 18 July 1934 into a lower-working-class family in

257: 224:(18 July 1934 – 3 March 2024) was an English playwright, theatre director, poet, 158: 6007: 5753: 2159:, Royal Shakespeare Company, The Other Place, Stratford On Avon, 18 October 1982 2076:, Inter-Action's Ambiance Lunch-Hour Theatre Club, Almost Free Theatre, London. 1166:

since the early 1980s. He found a means to do so after testing a storyline with

6794: 6660: 6358: 2850: 2840: 2809: 2508: 2492: 2093: 2019: 1855: 1812: 1632: 1226: 1092:

at the National Theatre repeatedly refused to allow him to direct his new play

1025:

at the National Theatre. These latter two introduced the South African actress

995: 679: 661: 526: 497: 251: 150: 5232:"Edward Bond – Rouge noir et ignorant – Analyse en images – vidéo Dailymotion" 4877: 4310: 3774: 3573: 3045:

Choruses from After the Assassinations; War Plays; Commentary on the War Plays

2139:"a pastorale" (1979–80) Edward Bond, Royal Court Theatre, London, 22 July 1981 1800:

Since the early 1970s, Bond has been conspicuous as the first dramatist since

318:

offices, he did his national service in the British Army occupation forces in

7136: 7116: 7070: 6995: 6939: 6774: 6403: 6388: 6378: 6373: 6323: 6232: 5960: 5913: 5809: 5655: 5465: 4745:"If you’re going to despair, stop writing", interview with M. Billington, in 4697: 4462: 4429: 4318: 4267: 4234: 4102: 4005: 3847: 3839: 3733: 3699: 3635: 3597: 2795: 2262: 2171: 1945: 1734:. 2012 saw two new plays performed by Big Brum Theatre in Education Company; 1730:

for 27 years in autumn 2011 in a production by the venue's Artistic Director

1662: 1645: 1194: 1105: 989: 950:

His early 1980s plays were directly influenced by the coming to power of the

897: 789: 534: 521: 446: 354: 349:

After three years studying with writers his age but already well-known (like

310: 269: 4294: 798:. (In 1982 the pair collaborated again, less successfully on another opera, 685:

Bond then produced two pieces exploring the place of the artist in society.

665:(1973) shows a seaside community on England's East Coast a few years before 487:

was still in force and required scripts to be submitted for approval by the

7058: 7005: 6985: 6899: 6824: 6784: 6716: 6616: 6606: 6509: 6408: 6383: 6368: 6333: 6227: 5323: 5293: 5275: 4657:, 1978 1990, New-York, Peter Lang Publishing, 1996, pp. 142 sqq. 3378: 2937: 2543:(2000), broadcast: BBC Radio 4, 8 April 2000 (Turan Ali, Director/Producer) 2467:(2011) Chris Cooper, Big Brum Theatre in Education Company, 15 October 2012 2451:(2009) Chris Cooper, Big Brum Theatre in Education Company, 12 October 2009 2121:, Royal Shakespeare Company, The Warehouse Theatre, London, 13 January 1978 2033: 1931: 1883: 1726: 1388: 1266: 1126: 919:(although, thirty years previously, he had not been allowed to sit for his 882: 841: 763: 722: 687: 463: 393: 358: 230: 134: 5206:"Dans la compagnie des hommes / E. Bond / Extrait 1/4 – vidéo Dailymotion" 3589: 2483:(2014) Chris Cooper, Big Brum Theatre in Education Company, 6 October 2014 2405:(2005) Chris Cooper, Big Brum Theatre in Education Company, 9 October 2005 736: 344: 6929: 6872: 6851: 6816: 6750: 6343: 4176: 2475:(2012) Chris Cooper, Big Brum Theatre in Education Company, 24 April 2012 2337:, Classwork Theatre, Manor Community College, Cambridge, 11 February 2000 2195:, Bread and Circus Theatre, Midlands Art Centre, Birmingham, 4 May 1984; 2039: 2005: 1993: 1965: 1699: 1650: 1281: 1081: 1006: 920: 905: 901: 888: 692: 666: 627: 622: 546: 512:. The court found the English Stage Society guilty and they were given a 300: 245: 142: 6252: 5926: 5908: 5541:

Edward Bond and the Dramatic Child: Edward Bond's Plays for Young People

5058:"THEATRE Coffee Royal Court Theatre Upstairs at the Ambassadors, London" 3855: 3823: 3455:

Edward Bond and the Dramatic Child, Edward Bond's Plays for Young People

3239:

Edward Bond and the Dramatic Child, Edward Bond's Plays for Young People

2524:(1990), shot in December 1991 (Roy Battersby), broadcast: BBC2, May 1993 7106: 7015: 6710: 6425: 6328: 6210: 5949:"Edward Bond, British playwright who battled royal censors, dies at 89" 4379:

III, Amsterdam, Harwood Academic Publishers, 1994, pp. 28–30

4075: 2889: 2549:(2002), broadcast: BBC Radio 4, May 2002 (Turan Ali, Director/Producer) 2244: 1808: 1641: 1411: 1326: 1271: 1071: 1046: 873: 718: 702: 383: 350: 329:

in the summer of 1956. In June 1958, after submitting two plays to the

183: 5136:"Edward Bond – L'aventure des enfants – Rencontre – vidéo Dailymotion" 2775:"a piece for dancers and musicians" (1985), for Midland Ballet Company 2491:(2016) Chris Cooper, Unifaun Theatre Productions & Teatru Manoel, 1579: 381:

received "mixed but predominantly friendly reviews". Bernard Levin of

6834: 6732: 6561: 6481: 6393: 5032:"Theatre: 'Theatre begins at the gates of Auschwitz and if you don't" 4770: 3624:"Never mind 1984: Michael Billington's top five theatrical dystopias" 2965: 2200: 2180: 2156: 1940:, English Stage Society, Royal Court Theatre, London, 3 November 1965 1763: 1758: 1752: 1658: 1447: 1167: 877: 751: 656: 632: 583: 292: 234:(1965), the production of which was instrumental in the abolition of 4067: 3437:"Drama and the Dialectic of Violence", interview with A. Arnold in: 3083:, Student Edition, with Commentary and Notes by Patricia Hern (1983) 972:

has sometimes been viewed as one of the best of Bond's later plays.

576:

Bond then wrote a few commissioned works. The British Empire satire

1717:

moral conscience, indict our complacency or anything of that ilk."

1563: 1533: 1330: 1162:

it provoked in Britain and Europe, Bond had planned to write about

1114: 538: 6272: 3121:, Student Edition, with Commentary and Notes by David Davis (2008) 1954:, English Stage Society, Royal Court Theatre London, 31 March 1968 1338:

as one of the later works for which Bond is well known in France.

837: 426:

claimed that "his later plays have often been glibly dismissed as

6236: 5704:"There Will Be More/Red, Black and Ignorant, Cock Tavern, London" 3246:

Bond and the Dramatic Child, Edward Bond's Plays for Young People

2917: 1863: 1171: 1066:

was the first contemporary play performed in the recently opened

777: 427: 305: 228:

and screenwriter. He was the author of some 50 plays, among them

7121:

It Felt Empty When the Heart Went at First but It Is Alright Now

5294:"Edward Bond – Café – Analyse en images 2/2 – Vidéo dailymotion" 5276:"Edward Bond – Café – Analyse en images 1/2 – Vidéo dailymotion" 4954:"STUART STUDIES VIOLENT DRAMA OF BRITISH PLAYWRIGHT EDWARD BOND" 3015:

Author's note: On Violence; Saved, Early morning; Pope's Wedding

2857:(1992), with Elisabeth Bond-Pablé, for Cambridge Theatre Company 2713:"Actions for Music in Two Parts and Eleven Scenes", 1972/74, in 2435:(2006) Chris Cooper, Big Brum Theatre in Education Company, 2007 2387:(2003–04) John Doona, Young People Drama Festival, 13 March 2004 1418:(1995), in which a youth confronts the legacy of the holocaust; 1074:. David L. Hirst wrote that in the play Bond "skilfully reworks 931:

Theatre Society, based on the recent events in the UK, both the

6163: 5909:"Drama and the Human: Reflections at the Start of a Millennium" 3824:"Drama and the Human: Reflections at the Start of a Millennium" 3353: 2868: 1846: 1179: 1129:. Except for two plays written for the BBC in the early 1990s ( 893: 849: 742:

activist companies. For example, in 1976 he wrote, on one hand

1819:, including the prefaces, are available from the UK publisher 557:

While Bond's work remained banned for performance in Britain,

365:, staged as a Sunday night "performance without décor" at the 6255:

at Stuart A. Rose Manuscript, Archives, and Rare Book Library

6012:

Oscars.org | Academy of Motion Picture Arts and Sciences

4721:

I, Luxembourg, Harwood Academic Publishers, 1994, p. 143

4674:

I, Luxembourg, Harwood Academic Publishers, 1994, p. 143

4609:

I, Luxembourg, Harwood Academic Publishers, 1994, p. 143

4192:

I, Luxembourg, Harwood Academic Publishers, 1994, p. 135

2995: 2975: 2752:(1977), partially published as From an Unfinished Ballet, in 1648:. Among recent productions of his work have been revivals of 370: 5832:"Review: Is Dea The Most Extreme Play London Has Ever Seen?" 4167: 4165: 3325:"Regularly hailed as Britain’s greatest living playwright, " 3008:

Plays ("uniformed edition"; nine volumes by Methuen, London)

2042:& John Dove, Northcott Theatre, November Exeter, 14 1973 996:

Controversial directing attempts, quarrels with institutions

824:

a new play for the opening of their new London theatre, the

701:(1975) reinterprets the life of the rural 19th century poet 4655:

Politics in Performance, the Production Work of Edward Bond

4337:. College of Fine Arts at Carnegie Mellon University. 1992. 3244:"Something of Myself" (2004), in David Davis (ed.): Edward 1256:

as Bond's "best-known works". In 1998, Richard Boon dubbed

868:

Bond assigned the same political concern to his next play,

1769:

In 2013 he accepted an honorary doctorate in letters from

958:

and the profound social changes they were bringing about.

836:

and based on an anecdote from the classical Japanese poet

4162: 599: 3688:"THEATER; An English Playwright With Very Mixed Notices" 3039:

Human Cannon, The Bundle; In the Company of Men; Jackets

988:, written for a youth festival, alludes directly to the 1792:

Bond died in London on 3 March 2024, at the age of 89.

737:

1970s – mid-1980s: broader scope, political experiments

345:

1960s – mid-1970s: first plays, Royal Court association

4152:"The Use of the Grotesque in the Plays of Edward Bond" 3125:

The Chair Plays: Have I None, The Under Room and Chair

1804:

to produce long, serious prose prefaces to his plays.

904:

and the interests of the state to physically meet the

3231:

Notes on Theatre and the State, London, Methuen, 2000

2100:, Institute of Contemporary Arts, London, 8 June 1976 1446:

to be played by pupils at Manor Community College in

1422:(1997), on scholastic and military authoritarianism; 4627:

P. Arendt: "Massey reveals her acting nightmare" in

3574:"Violence and the Comic in the Plays of Edward Bond" 3208:

Bond, Edward (1998). "Commentary on The War Plays".

2750:

Text for a Ballet: for Dancers, Chorus and Orchestra

1154:. Motivated by the threats of the last years of the 5254:"PIECES DE GUERRE, EDWARD BOND – vidéo Dailymotion" 4346: 4344: 3617: 3615: 1453:Sarah Ratliff said that Bond is trying to argue in 612:the year it was first performed. Spencer described 5907:Bond, Edward; Billingham, Peter (September 2007). 5454:"Paying a Price for Kindness in a Bitter Dystopia" 5399: 3405: 2847:(1974), with Elisabeth Bond-Pablé, for Bill Bryden 1886:); as well as contributing additional dialogue to 1773:, Birmingham. He was an honorary associate of the 892:, it shows the fight of the decayed Trojan queen, 602:Easter Festival. A one-act play, the full text of 5857:"Honorary Alumni – Newman University, Birmingham" 5678:"There Will Be More, Cock Tavern Theatre, London" 3265:III, Amsterdam, Harwood Academic Publishers, 1996 3262:II, Luxembourg, Harwood Academic Publishers, 1995 2727:, London, Methuen, 1982, from Honoré de Balzac's 1526:and considered his major project of that decade. 483:, then artistic director of the Royal Court. The 238:in the UK. His other well-received works include 7134: 6242:Short speech on video about the purpose of drama 4341: 3612: 3137: 3063:Innocence, Window, Tune, Balancing Act, The Edge 1724:presented the first London production of Bond's 7163:21st-century English dramatists and playwrights 7153:20th-century English dramatists and playwrights 6113:Dramatic Strategies in the Plays of Edward Bond 4838:The Hidden Plot, Notes on Theatre and the State 4767:Transcript & audio of an interview for BBC3 4597:Bond: Letters to T. Hands, 4 December 1985, in 3492: 3490: 3465: 3463: 3268:4, Amsterdam, Harwood Academic Publishers, 1998 2014:, Royal Court Theatre London, 29 September 1971 620:as works with "power and humor". Bond composed 525:. This portrays a lesbian relationship between 412:Bond considered his plays written for France's 399:Dramatic Strategies in the Plays of Edward Bond 397:as "too elliptical". Jenny S. Spencer wrote in 7037:How to Disappear Completely and Never Be Found 6683:Freehold Company and Peter Hulton (joint) for 5906: 5883:"National Secular Society Honorary Associates" 4683: 4418:"The Stage: 'Summer,' Adriatic Recriminations" 4288: 4286: 4284: 3821: 3681: 3679: 3531: 3529: 3057:Born, People, Chair, Existence, The Under Room 2056:, Royal Court Theatre London, 18 November 1975 1926:, Royal Court Theatre, London, 9 December 1962 1876:) and the screenplay for the aboriginal drama 1669:with added songs, toured in early 2006 by the 1229:and the portion in Britain are referred to as 6577: 6288: 4188:Bond: Letter to A. Noble, 24 September 1988, 4137:, London, Methuen, 1985, pp. 55–56 3891:, edited by Ian Stuart, vol. 1, London, 2565:"He jumped but the bridge was burning", 1950s 2427:(2006) John Doona, Chester, 21 September 2006 1470:in 1992 and produced an acclaimed version of 5701: 5006:"THEATRE In the Company of Men RSC, The Pit" 4905:. University of Michigan Press. p. 50. 4515:. Macmillan International Higher Education. 4145: 4143: 3920:Student Editions, Methuen, 2008, p. lii 3487: 3460: 3453:"Something of Myself" in David Davis (ed.): 3449: 3447: 3433: 3431: 2762:"a story in six scenes" (1977/78), music by 4852: 4850: 4848: 4846: 4395:. Cambridge University Press. p. 173. 4392:Modern British Drama: The Twentieth Century 4281: 3685: 3676: 3526: 3400: 3398: 3396: 1502:. To Françon and his actors Bond dedicated 6584: 6570: 6468:The Loneliness of the Long-Distance Runner 6295: 6281: 6265: 6088: 6046: 4977: 4872:(3). Cambridge University Press: 256–266. 4859:"Edward Bond & the celebrity of exile" 4686:"Letters: Why I fell out with Edward Bond" 4350: 4122: 3979: 3967: 3955: 3904: 3815: 3769:(3). Cambridge University Press: 256–266. 3756:"Edward Bond & the celebrity of exile" 3686:Nightingale, Benedict (18 February 2001). 3621: 3571: 3535: 3520: 3481: 3441:, vol. 2, No. 5, Cambridge, 1972 2978:, commande de KCETTV, unperformed, 1974 75 2904:(English language version dialogue), dir: 1807:These contain the author's meditations on 1780: 1244:s theatre reviewer Robin Thornber praised 38: 7198:People from South Cambridgeshire District 5617:"Cock Tavern Theatre: Edward Bond Season" 5451: 5428:"Chair, Lyric Hammersmith Studio, London" 4140: 3747: 3719: 3444: 3428: 3364: 3362: 3310:"Ideas of war, riot and murder – Theatre" 3307: 3278:, edited by Ian Stuart, London, Methuen, 2968:et A. Calenda, dir: Antonio Calenda, 1973 2415:, stage version (2005) Alain Françon (as 2028:, Royal Court Theatre London, 22 May 1973 1839: 471:in 20th-century British theatre history. 6028:. British Film Institute. Archived from 5992:. British Film Institute. Archived from 4856: 4843: 4717:Letter to D. Jansen, 3 October 1989, in 4091:"If a House Is on Fire and I Cry 'Fire'" 4088: 3822:Bond, Edward; Billingham, Peter (2007). 3795: 3753: 3622:Billington, Michael (19 February 2014). 3393: 1574:as "perhaps his greatest play to date". 900:, succeeding only when she abandons the 19:For other people named Edward Bond, see 7178:English male dramatists and playwrights 6109: 5795: 5783:"Dea review at Secombe Theatre, Sutton" 5780: 5641: 5485: 5452:Isherwood, Charles (12 December 2008). 5425: 5084:"The Crime of the Twenty-First Century" 4898: 4493:Diaries, The Story of a Dramatic Battle 4451:"Stratford to Stage Bond's 'The Woman'" 4389:Innes, Christopher (28 November 2002). 4223:"Edward Bond 'Bundle,' Political Fable" 4149: 4049: 4025: 3889:Selections from Edward Bond's Notebooks 3559: 3368: 3276:Selections from Edward Bond's Notebooks 2739:, Mayence, Wergo, 2 CD, WER 62042, 1989 1984:, Lyceum Theatre, London, 22 March 1970 1626:in a career of almost fifty years with 780:and a libretto for the German composer 551:Belgrade International Theatre Festival 212: 1971; died 2017) 7135: 6591: 6130: 6110:Spencer, Jenny S. (17 December 1992). 6089:Hay, Malcolm; Roberts, Philip (1980). 6047:Hay, Malcolm; Roberts, Philip (1978). 5829: 5675: 5589: 5373: 5347: 5081: 5055: 5029: 5003: 4978:Szalwinska, Maxie (17 November 2005). 4684:Stafford-Clark, Max (9 January 2008). 4535: 4179:, Modern Dramatists, 1985, p. 132 3916:David Davis: "Commentary" in E. Bond: 3658:"Edward Bond is back with a vengeance" 3547: 3359: 3334: 2325:), Schauspielhaus, Bochum, 28 May 1999 1264:). However, Maxie Szalwinska wrote in 1145: 291:to the countryside, but witnessed the 6612:Rosencrantz and Guildenstern Are Dead 6565: 6276: 6067: 6050:Edward Bond: A Companion to the Plays 6008:"The 39th Academy Awards | 1967" 5946: 5702:Shuttleworth, Ian (4 November 2010). 5537: 5511: 5321: 5111:Eğitimde Tiyatro Theatre in Education 4952:Shade, Christine (21 February 1993). 4951: 4508: 4388: 3828:PAJ: A Journal of Performance and Art 3508: 3496: 3469: 3255:, selected and edited by Ian Stuart: 2318:The Crime of the twenty-first Century 2281:(stage version) Claudia Stavisky (as 1996:, au CND Festival of Life on Easter, 1193:(written for a Festival dedicated to 6179:and clips from plays in performance 6166:(new address for Bond's own website) 5798:"Dea at the Secombe Theatre, Sutton" 5348:Stasio, Marilyn (11 December 2008). 4824: 4812: 4585: 4573: 4561: 4415: 4292: 4220: 4089:Marowitz, Charles (2 January 1972). 3991: 3259:I, Harwood Academic Publishers, 1994 3207: 2731:, music by H.W. Henze; recorded as: 2729:Peines d'amour d'une chatte anglaise 2115:or New Narrow Road to the Deep North 1103:In 1985, he attempted to direct his 762:and, on the other, an adaptation of 467:(1965) became one of the best known 289:during World War II he was evacuated 6302: 5592:"Lear, Crucible Theatre, Sheffield" 5160: 5107: 4509:Hirst, David L. (18 October 1985). 3931:"Edward Bond, Saved, November 1965" 3335:Quirke, Kieron (17 November 2002). 3308:Mccarrick, Jaki (20 January 2017). 2695:The Palace of Varieties in the Sand 2371:), Festival d'Avignon, 10 July 2006 2323:Das Verbrechen des 21. Jahrhunderts 2038:"scenes of money and death" (1973) 1260:a "very good" play (as he did with 911:In 1977, Bond accepted an honorary 804:.) Ann Marie Demling wrote that in 729:was voted best play of the year by 13: 5400:Michael Billington (15 May 2012). 4902:After Brecht: British Epic Theater 3796:Gardiner, Lyn (10 November 2005). 2419:) Festival d'Avignon, 18 July 2006 2052:"scenes of bread and love" (1974) 1270:, after watching a performance at 14: 7209: 7168:21st-century English male writers 7158:20th-century English male writers 6503:Saturday Night and Sunday Morning 6263:National Portrait Gallery, London 6220:Edward Bond biography and credits 6152: 6131:Mangan, Michael (1 August 2018). 5374:Propst, Andy (11 December 2008). 5256:. Dailymotion.com. 18 August 2008 5234:. Dailymotion.com. 31 August 2009 4536:Thorpe, Adam (22 February 2006). 3798:"The Under Room, MAC, Birmingham" 2321:(1996–1998) Leander Haussman (as 1862:. He also wrote an adaptation of 1854:), for which he received a joint 1294:account of post-modern society". 586:plays for festival performances, 361:), Bond had his first real play, 6982:The Cosmonaut's Last Message ... 6018: 6000: 5982: 5967:from the original on 1 July 2024 5947:Smith, Harrison (8 March 2024). 5940: 5900: 5875: 5849: 5823: 5796:Maxwell, Dominic (27 May 2016). 5789: 5781:Pringle, Stewart (26 May 2016). 5774: 5742: 5721: 5695: 5676:Taylor, Paul (3 November 2010). 5669: 5642:Gardner, Lyn (7 November 2010). 5635: 5609: 5583: 5558: 5531: 5505: 5486:Gardner, Lyn (22 October 2009). 5322:Yates, Daniel B. (16 May 2012). 5192:Savitribai Phule Pune University 5167:Children's Book and Media Review 5004:Taylor, Paul (24 October 1996). 4416:Rich, Frank (11 February 1983). 3075:Other plays (by Methuen, London) 2495:, Valletta (Malta), 8 April 2016 1903: 1594:in 2005; Woodruff also directed 1460:Savitribai Phule Pune University 678:(1891) by the German playwright 508:, then artistic director of the 7000:Further than the Furthest Thing 5590:Walker, Lynne (23 March 2005). 5512:Smith, Arthur (10 April 2002). 5479: 5445: 5419: 5393: 5367: 5341: 5315: 5304: 5286: 5268: 5246: 5224: 5198: 5177: 5154: 5128: 5101: 5082:Colgan, Gerry (13 April 2001). 5075: 5049: 5023: 4997: 4971: 4945: 4919: 4892: 4830: 4818: 4806: 4776: 4760: 4737: 4724: 4711: 4677: 4660: 4647: 4634: 4621: 4612: 4591: 4579: 4567: 4555: 4529: 4502: 4485: 4476: 4443: 4409: 4382: 4365: 4356: 4325: 4248: 4221:Eder, Richard (11 March 1979). 4214: 4195: 4182: 4127: 4116: 4082: 4043: 4031: 4019: 3992:Bond, Edward (15 August 1971). 3985: 3973: 3961: 3949: 3923: 3910: 3898: 3882: 3870: 3789: 3713: 3650: 3565: 3553: 3541: 3514: 3502: 2251:, Canterbury, 16 September 1989 1795: 1688:and took over the direction of 1208:Mangan commented that the 1995 754:-style plays, respectively for 209: 6137:. Northcote House Publishers. 6116:. Cambridge University Press. 5426:Hemming, Sarah (15 May 2012). 5056:Turpin, Adrian (29 May 1997). 4980:"My love letter to the fringe" 4866:Theatre Research International 4666:Bond: Letters to T. Hands, in 4050:Carlson, Marvin (1 May 1993). 3763:Theatre Research International 3475: 3457:, London, Trentham Books, 2005 3328: 3301: 3248:, London, Trentham Books, 2005 3241:, London, Trentham Books, 2005 3237:(2004), in David Davis (ed.): 2780:Adaptations from other authors 2723:"a story for music", 1979, in 1480:Théâtre national de la Colline 1361: 964:, as a half-musical parody of 750:(pronounced as a sneeze), two 1: 6654:Narrow Road to the Deep North 6632:A Day in the Death of Joe Egg 5644:"There Will Be More – review" 5114:. PegemAkademi. p. 147. 4499:, 1983, see: July–August 1978 3994:"A Passion Play For Our Time" 3722:"In praise of... Edward Bond" 3289: 3138:Selected theoretical writings 3089:, stage and TV version (1993) 2834:(1976), "Acting Edition" for 2821: 2717:, Londres, Eyre Methuen, 1976 2650: 2638: 2626: 2614: 2602: 2590: 2578: 1960:Narrow Road to the Deep North 1520:The Crime of the 21st Century 1488:The Crime of the 21st Century 1379:The Crime of the 21st Century 1369:The Crime of the 21st Century 1356:The Crime of the 21st Century 935:and the social crisis of the 908:and join the people's cause. 691:(1974) portrayed the retired 579:Narrow Road to the Deep North 387:lauded it as an "astonishing 278: 241:Narrow Road to the Deep North 16:English dramatist (1934–2024) 7193:People from Holloway, London 7173:British critics of religions 6159:Bibliography at Open Library 5030:Miller, Carl (20 May 1997). 4899:Reinelt, Janelle G. (1996). 3720:Editorial (3 October 2011). 3572:Rademacher, Frances (1980). 3294: 3285:vol. 2: 1980–1995, 2000 3282:vol. 1: 1959–1980, 2000 2948:(additional dialogue), dir: 2885:Michael Kolhaas – der Rebell 409:as a "masterly" early play. 391:", but it was criticized in 21:Edward Bond (disambiguation) 7: 7030:Scenes from the Big Picture 6951:Get Up and Tie Your Fingers 5830:Bolton, Tom (7 June 2016). 5488:"A Window | Theatre review" 4773:broadcast on 7 January 2001 4299:Contemporary Theatre Review 4203:Narrow Road to the Interior 4150:Demling, Ann Marie (1983). 3002: 2827:), with Keith Hack, inédit, 1607: 705:. It involves Clare in the 652:instinctively understood." 10: 7214: 6829:Shamrocks & Crocodiles 6092:Bond, a Study of His Plays 6040: 3271:5, London, Routledge, 2001 2818:Round Heads and Pick Heads 2790:A Chaste Maid in Cheapside 2235:, Paris, 29 September 1992 2208:Jackets or The Secret Hand 1896:). Except for Antonioni's 1676:During the autumn of 2010 1604:Theatre for a New Audience 1588:American Repertory Theatre 1358:) as much livelier works. 1113:has written that with the 590:(1970) to commemorate the 18: 7183:English opera librettists 7096: 6970: 6865: 6767: 6676: 6599: 6533: 6517:Serjeant Musgrave's Dance 6417: 6312: 4878:10.1017/S0307883304000665 4311:10.1080/10486809808568474 3775:10.1017/S0307883304000665 3144:A Note on Dramatic Method 2289:, Paris, 23 November 1995 1998:Alexandra Park Racecourse 1210:Odéon-Théâtre de l'Europe 933:Northern Ireland conflict 858:Irondale Ensemble Project 817:Royal Shakespeare Company 489:Lord Chamberlain's Office 479:The play was directed by 193: 170: 127: 119: 111: 85: 71: 49: 37: 30: 6800:Our Friends in the North 6440:The Divine and the Decay 6259:Portraits of Edward Bond 6248:Leeds University Library 6071:The Plays of Edward Bond 5887:National Secular Society 4371:see Bond's obituary for 3840:10.1162/pajj.2007.29.3.1 3337:"Fringe theatre roundup" 3204:5, London, Methuen, 1996 3174:3, London, Methuen, 1987 3160:4, London, Methuen, 1992 2659:Klaxon in Aetreus' Place 1992:"a Play for CND" (1971) 1972:, Coventry, 24 June 1968 1860:Best Original Screenplay 1811:, violence, technology, 1775:National Secular Society 672:In 1974 Bond translated 6177:(in French and English) 4840:, London, Methuen, 2000 4052:"In the Company of Men" 3198:Notes on Post-modernism 3194:, London, Methuen, 1995 3184:, London, Methuen, 1992 3150:, London, Methuen, 1978 2756:, London, Methuen, 1980 2754:Theatre Poems and Songs 2737:Markus Stenz-Peter Doll 2702:Libretti for operas by 2671:I Don't Want to Be Nice 2562:, for television, 1950s 2554:Unavailable early plays 2261:(1990) (stage version) 2229:La Compagnie des hommes 2072:"a documentary" (1976) 1836:was published in 1987. 1781:Personal life and death 1678:The Cock Tavern Theatre 1638:Theatre Royal Haymarket 1017:at the Royal Court and 533:, the royal Princes as 339:Klaxon in Atreus' Place 5376:"Chair | TheaterMania" 4351:Hay & Roberts 1980 4293:Boon, Richard (1998). 4133:Philip Roberts (ed.): 4123:Hay & Roberts 1978 3980:Hay & Roberts 1978 3968:Hay & Roberts 1980 3956:Hay & Roberts 1980 3905:Hay & Roberts 1980 3536:Hay & Roberts 1980 3521:Hay & Roberts 1980 3482:Hay & Roberts 1980 3374:"Edward Bond obituary" 2998:, 1998–99, unperformed 2945:Nicholas and Alexandra 2878:Michelangelo Antonioni 2587:The Broken Shepherdess 2177:Red Black and Ignorant 2092:"a short Play" (1976) 1889:Nicholas and Alexandra 1852:Michelangelo Antonioni 1840:Contribution to cinema 1615: 1191:Red Black and Ignorant 832:. Set in an imaginary 819:(RSC). Beginning with 285:Holloway, North London 7053:Breakfast with Mugabe 7051:and Fraser Grace for 6894:Your Home in the West 6246:Archival material at 6170:Methuen Author's Site 6164:Edward Bond Dramatist 5538:Davis, David (2005). 4857:Saunders, G. (2004). 4784:"John Tusa Interview" 4732:New Theatre Quarterly 3754:Saunders, G. (2004). 3590:10.1353/mdr.1980.0007 2950:Franklin J. Schaffner 2806:, for William Gaskill 2623:The Best Laid Schemes 2287:Théâtre de la Colline 2220:In the Company of Men 2024:"a comedy" (1971–72) 1894:Franklin J. Schaffner 1826:In 1999 he published 1710:Adam Spreadbury-Maher 1468:In the Company of Men 1286:In the Company of Men 1278:In the Company of Men 1123:In the Company of Men 711:industrial capitalism 514:conditional discharge 502:English Stage Society 7010:Jumping on my Shadow 6811:The Rat in the Skull 6685:Freehold on Antigone 6546:Kitchen sink realism 6447:Emergence from Chaos 6068:Coult, Tony (1979). 5996:on 11 February 2016. 5738:– via YouTube. 5514:"Arts: Arthur Smith" 3188:Notes on Imagination 3154:The Activists Papers 2913:Laughter in the Dark 2836:Michael Lindsay-Hogg 2744:Libretti for ballets 2711:We Come to the river 2503:(2016) Edward Bond, 2249:Canterbury Cathedral 1869:Laughter in the Dark 1671:Oxford Stage Company 1548:, but criticized in 1544:, TheaterMania, and 1317:divided critics. In 978:socialist Yugoslavia 966:Restoration comedies 937:winter of Discontent 929:Newcastle University 913:doctorate in letters 795:We Come to the River 774:Michael Lindsay-Hogg 592:Sharpeville massacre 531:Florence Nightingale 7081:Alexi Kaye Campbell 7064:Taking Care of Baby 7048:The Rubenstein Kiss 6760:Stephen Bill (1979) 6197:27 May 2011 at the 5953:The Washington Post 5566:"Revue Edward Bond" 4794:on 28 December 2016 4788:radiolistings.co.uk 4457:. 3 December 1978. 4256:"Theater in Review" 4156:LSU Digital Commons 3413:The Daily Telegraph 2988:, 1991, unperformed 2507:(Sutton Theatres), 2443:(2008), unperformed 2335:Claudette Bryanston 2233:Théâtre de la Ville 2185:The Unknown Citizen 1850:(1966, directed by 1802:George Bernard Shaw 1624:West End production 1146:1980s turning point 927:, written for the 872:, set in a fantasy 760:Almost Free Theatre 367:Royal Court Theatre 331:Royal Court Theatre 7188:English socialists 6856:A Handful of Stars 6839:The Art of Success 6737:The Winter Dancers 6701:Heathcote Williams 6593:John Whiting Award 6524:This Sporting Life 6475:Look Back in Anger 6253:Edward Bond Papers 5544:. Trentham Books. 5458:The New York Times 5108:Ada, Uğur (2021). 4933:. 20 February 2014 4756:Max Stafford-Clark 4455:The New York Times 4422:The New York Times 4353:, pp. 240–244 4260:The New York Times 4227:The New York Times 4095:The New York Times 3998:The New York Times 3895:, 2000, p. 87 3692:The New York Times 3178:The Dramatic Child 3067:Plays: 10 (2018): 2972:The Master Builder 2962:One Russian Summer 2906:Eriprando Visconti 2894:Volker Schlöndorff 2647:The Roller Coaster 2625:, for television, 2601:, for television, 2577:, for television, 2456:There Will Be More 2271:Festival d'Avignon 2189:The Tin Can People 2084:: 22 November 1976 2068:"a burlesque" and 2061:A-A-America ! 1919:The Pope's Wedding 1789:, Cambridgeshire. 1690:There Will Be More 1682:There Will Be More 1556:The New York Times 1524:The Colline Pentad 1476:Festival d'Avignon 1199:The Tin Can People 1176:nuclear deterrence 1160:political activism 1111:Max Stafford-Clark 1068:Olivier auditorium 1052:The New York Times 952:Conservative Party 609:The New York Times 419:The New York Times 407:The Pope's Wedding 403:Michael Billington 379:The Pope's Wedding 363:The Pope's Wedding 293:bombings on London 236:theatre censorship 222:Thomas Edward Bond 178:John Whiting Award 53:Thomas Edward Bond 7130: 7129: 6846:American Bagpipes 6559: 6558: 6144:978-1-78694-267-8 6123:978-0-521-39304-1 5756:on 25 August 2014 5551:978-1-85856-312-1 5300:. 31 August 2009. 5282:. 31 August 2009. 4912:978-0-472-08408-1 4522:978-1-349-17983-1 4402:978-0-521-01675-9 3439:Theatre Quarterly 3093:At the Inland Sea 3061:Plays: 9 (2011): 3055:Plays: 8 (2006): 3049:Plays: 7 (2003): 3043:Plays: 6 (1998): 3037:Plays: 5 (1996): 3031:Plays: 4 (1992): 3025:Plays: 3 (1987): 3019:Plays: 2 (1978): 3013:Plays: 1 (1977): 2934:J. Vance Marshall 2764:Hans Werner Henze 2704:Hans Werner Henze 2691:, for radio, 1960 2689:Kissing The Beast 2569:The Asses of Kish 2384:The Short Electra 2376:The Balancing Act 2302:At the Inland Sea 1771:Newman University 1722:Lyric Hammersmith 1428:The Balancing Act 1416:At the Inland Sea 1005:in German at the 982:German occupation 956:Margaret Thatcher 854:D. J. R. Bruckner 828:, which would be 786:Royal Opera House 782:Hans Werner Henze 731:Plays and Players 485:Theatres Act 1843 327:Berliner Ensemble 226:dramatic theorist 219: 218: 101:dramatic theorist 7205: 7100: 7035:Fin Kennedy for 6990:The Waiting Room 6887:Imagine Drowning 6877:Keeping Tom Nice 6844:Iain Heggie for 6666:Christie in Love 6644:The Ruling Class 6621:The Interpreters 6586: 6579: 6572: 6563: 6562: 6541:British New Wave 6461:A Kind of Loving 6399:Keith Waterhouse 6349:Michael Hastings 6297: 6290: 6283: 6274: 6273: 6269: 6192:Bond interviewed 6182: 6178: 6148: 6127: 6106: 6095:. Eyre Methuen. 6085: 6074:. Eyre Methuen. 6064: 6053:. Eyre Methuen. 6034: 6033: 6022: 6016: 6015: 6004: 5998: 5997: 5986: 5980: 5979: 5974: 5972: 5944: 5938: 5937: 5935: 5933: 5904: 5898: 5897: 5895: 5893: 5879: 5873: 5872: 5870: 5868: 5859:. Archived from 5853: 5847: 5846: 5844: 5842: 5827: 5821: 5820: 5818: 5816: 5793: 5787: 5786: 5778: 5772: 5768:The Price of One 5765: 5763: 5761: 5752:. Archived from 5746: 5740: 5739: 5737: 5735: 5725: 5719: 5718: 5716: 5714: 5699: 5693: 5692: 5690: 5688: 5673: 5667: 5666: 5664: 5662: 5639: 5633: 5632: 5630: 5628: 5619:. Archived from 5613: 5607: 5606: 5604: 5602: 5587: 5581: 5580: 5578: 5576: 5562: 5556: 5555: 5535: 5529: 5528: 5526: 5524: 5509: 5503: 5502: 5500: 5498: 5483: 5477: 5476: 5474: 5472: 5449: 5443: 5442: 5440: 5438: 5423: 5417: 5416: 5414: 5412: 5402:"Chair – review" 5397: 5391: 5390: 5388: 5386: 5380:theatermania.com 5371: 5365: 5364: 5362: 5360: 5345: 5339: 5338: 5336: 5334: 5319: 5313: 5308: 5302: 5301: 5290: 5284: 5283: 5272: 5266: 5265: 5263: 5261: 5250: 5244: 5243: 5241: 5239: 5228: 5222: 5221: 5219: 5217: 5212:. 31 August 2009 5202: 5196: 5195: 5189: 5181: 5175: 5174: 5161:Ratliff, Sarah. 5158: 5152: 5151: 5149: 5147: 5142:. 28 August 2009 5132: 5126: 5125: 5105: 5099: 5098: 5096: 5094: 5079: 5073: 5072: 5070: 5068: 5053: 5047: 5046: 5044: 5042: 5027: 5021: 5020: 5018: 5016: 5001: 4995: 4994: 4992: 4990: 4975: 4969: 4968: 4966: 4964: 4949: 4943: 4942: 4940: 4938: 4923: 4917: 4916: 4896: 4890: 4889: 4863: 4854: 4841: 4834: 4828: 4822: 4816: 4810: 4804: 4803: 4801: 4799: 4790:. Archived from 4780: 4774: 4764: 4758: 4749:, 3 January 2008 4741: 4735: 4728: 4722: 4715: 4709: 4708: 4706: 4704: 4681: 4675: 4664: 4658: 4653:see Ian Stuart: 4651: 4645: 4638: 4632: 4625: 4619: 4616: 4610: 4595: 4589: 4583: 4577: 4571: 4565: 4559: 4553: 4552: 4550: 4548: 4533: 4527: 4526: 4506: 4500: 4489: 4483: 4480: 4474: 4473: 4471: 4469: 4447: 4441: 4440: 4438: 4436: 4413: 4407: 4406: 4386: 4380: 4369: 4363: 4360: 4354: 4348: 4339: 4338: 4329: 4323: 4322: 4290: 4279: 4278: 4276: 4274: 4252: 4246: 4245: 4243: 4241: 4218: 4212: 4208:Oku no Hosomichi 4199: 4193: 4186: 4180: 4169: 4160: 4159: 4147: 4138: 4131: 4125: 4120: 4114: 4113: 4111: 4109: 4086: 4080: 4079: 4047: 4041: 4035: 4029: 4023: 4017: 4016: 4014: 4012: 3989: 3983: 3982:, pp. 37–40 3977: 3971: 3965: 3959: 3958:, pp. 65–69 3953: 3947: 3946: 3944: 3942: 3927: 3921: 3914: 3908: 3907:, pp. 39–42 3902: 3896: 3886: 3880: 3874: 3868: 3867: 3819: 3813: 3812: 3810: 3808: 3793: 3787: 3786: 3760: 3751: 3745: 3744: 3742: 3740: 3717: 3711: 3710: 3708: 3706: 3683: 3674: 3673: 3671: 3669: 3662:Evening Standard 3654: 3648: 3646: 3644: 3642: 3619: 3610: 3609: 3569: 3563: 3557: 3551: 3545: 3539: 3533: 3524: 3523:, pp. 14–22 3518: 3512: 3506: 3500: 3494: 3485: 3479: 3473: 3467: 3458: 3451: 3442: 3435: 3426: 3425: 3423: 3421: 3409: 3402: 3391: 3390: 3388: 3386: 3372:(5 March 2024). 3370:Coveney, Michael 3366: 3357: 3351: 3349: 3347: 3332: 3326: 3324: 3322: 3320: 3305: 3225: 2901:The Nun of Monza 2845:Spring Awakening 2826: 2823: 2804:Richard Cottrell 2786:Thomas Middleton 2768:William Forsythe 2655: 2652: 2643: 2640: 2631: 2628: 2619: 2616: 2613:for television, 2607: 2604: 2599:Sylo's New Ruins 2595: 2592: 2583: 2580: 2516:Television plays 2488:The Price of One 1970:Belgrade Theatre 1746:. His 2016 play 1698: 1656:Crucible Theatre 1621: 1613: 1344: 1243: 1237:, respectively. 1100:as "very good". 1077:The Trojan Women 1027:Yvonne Bryceland 886:. Comparable to 707:Littleport Riots 675:Spring Awakening 649:Charles Marowitz 510:National Theatre 506:Laurence Olivier 414:Théâtre National 268:(1981), and the 213: 211: 94:theatre director 78: 65:Holloway, London 61: 59: 42: 28: 27: 7213: 7212: 7208: 7207: 7206: 7204: 7203: 7202: 7133: 7132: 7131: 7126: 7123:(shared) (2010) 7098: 7092: 7055:(shared) (2006) 7026:Owen McCafferty 6992:(shared) (2000) 6966: 6949:Ann Coburn for 6923:Beautiful Thing 6918:Jonathan Harvey 6914:(shared) (1993) 6908:Helen Edmundson 6892:Rod Wooden for 6861: 6831:(shared) (1985) 6763: 6743:David Halliwell 6695:As Time Goes By 6691:Mustapha Matura 6672: 6657:(shared) (1968) 6623:(shared) (1967) 6595: 6590: 6560: 6555: 6529: 6496:Room at the Top 6454:The Entertainer 6413: 6317: 6315: 6308: 6305:Angry young men 6301: 6235:discography at 6204:Birmingham Post 6199:Wayback Machine 6180: 6176: 6155: 6145: 6124: 6103: 6082: 6061: 6043: 6038: 6037: 6032:on 28 May 2018. 6024: 6023: 6019: 6006: 6005: 6001: 5990:"Blowup (1967)" 5988: 5987: 5983: 5970: 5968: 5945: 5941: 5931: 5929: 5905: 5901: 5891: 5889: 5881: 5880: 5876: 5866: 5864: 5863:on 2 April 2015 5855: 5854: 5850: 5840: 5838: 5828: 5824: 5814: 5812: 5794: 5790: 5779: 5775: 5759: 5757: 5748: 5747: 5743: 5733: 5731: 5727: 5726: 5722: 5712: 5710: 5708:Financial Times 5700: 5696: 5686: 5684: 5682:The Independent 5674: 5670: 5660: 5658: 5640: 5636: 5626: 5624: 5623:on 23 July 2012 5615: 5614: 5610: 5600: 5598: 5596:The Independent 5588: 5584: 5574: 5572: 5564: 5563: 5559: 5552: 5536: 5532: 5522: 5520: 5510: 5506: 5496: 5494: 5484: 5480: 5470: 5468: 5450: 5446: 5436: 5434: 5432:Financial Times 5424: 5420: 5410: 5408: 5398: 5394: 5384: 5382: 5372: 5368: 5358: 5356: 5346: 5342: 5332: 5330: 5328:Exeunt Magazine 5320: 5316: 5309: 5305: 5292: 5291: 5287: 5274: 5273: 5269: 5259: 5257: 5252: 5251: 5247: 5237: 5235: 5230: 5229: 5225: 5215: 5213: 5204: 5203: 5199: 5187: 5183: 5182: 5178: 5159: 5155: 5145: 5143: 5134: 5133: 5129: 5122: 5106: 5102: 5092: 5090: 5088:The Irish Times 5080: 5076: 5066: 5064: 5062:The Independent 5054: 5050: 5040: 5038: 5036:The Independent 5028: 5024: 5014: 5012: 5010:The Independent 5002: 4998: 4988: 4986: 4976: 4972: 4962: 4960: 4950: 4946: 4936: 4934: 4931:lancaster.ac.uk 4925: 4924: 4920: 4913: 4897: 4893: 4861: 4855: 4844: 4835: 4831: 4823: 4819: 4811: 4807: 4797: 4795: 4782: 4781: 4777: 4765: 4761: 4742: 4738: 4729: 4725: 4716: 4712: 4702: 4700: 4682: 4678: 4665: 4661: 4652: 4648: 4639: 4635: 4626: 4622: 4617: 4613: 4596: 4592: 4584: 4580: 4572: 4568: 4560: 4556: 4546: 4544: 4534: 4530: 4523: 4507: 4503: 4497:Hamish Hamilton 4490: 4486: 4481: 4477: 4467: 4465: 4449: 4448: 4444: 4434: 4432: 4414: 4410: 4403: 4387: 4383: 4370: 4366: 4361: 4357: 4349: 4342: 4331: 4330: 4326: 4291: 4282: 4272: 4270: 4254: 4253: 4249: 4239: 4237: 4219: 4215: 4200: 4196: 4187: 4183: 4170: 4163: 4148: 4141: 4132: 4128: 4121: 4117: 4107: 4105: 4087: 4083: 4068:10.2307/3208928 4056:Theatre Journal 4048: 4044: 4036: 4032: 4024: 4020: 4010: 4008: 3990: 3986: 3978: 3974: 3966: 3962: 3954: 3950: 3940: 3938: 3937:. 23 April 2003 3929: 3928: 3924: 3915: 3911: 3903: 3899: 3887: 3883: 3875: 3871: 3820: 3816: 3806: 3804: 3794: 3790: 3758: 3752: 3748: 3738: 3736: 3718: 3714: 3704: 3702: 3684: 3677: 3667: 3665: 3664:. 12 April 2012 3656: 3655: 3651: 3640: 3638: 3620: 3613: 3570: 3566: 3558: 3554: 3546: 3542: 3534: 3527: 3519: 3515: 3507: 3503: 3495: 3488: 3480: 3476: 3468: 3461: 3452: 3445: 3436: 3429: 3419: 3417: 3404: 3403: 3394: 3384: 3382: 3367: 3360: 3345: 3343: 3333: 3329: 3318: 3316: 3306: 3302: 3297: 3292: 3229:The Hidden Plot 3222: 3140: 3005: 2922:Tony Richardson 2832:The White Devil 2824: 2733:The English Cat 2653: 2641: 2635:A Woman Weeping 2629: 2617: 2611:The Performance 2605: 2593: 2581: 2505:Secombe Theatre 2480:The Angry Roads 2472:The Broken Bowl 2026:William Gaskill 2012:William Gaskill 2000:, 11 April 1971 1952:William Gaskill 1938:William Gaskill 1924:Keith Johnstone 1906: 1874:Tony Richardson 1858:nomination for 1842: 1834:Collected Poems 1829:The Hidden Plot 1817:Collected Plays 1798: 1787:Great Wilbraham 1783: 1744:The Angry Roads 1736:The Broken Bowl 1714:Financial Times 1705:The Independent 1696: 1609: 1584:Robert Woodruff 1551:Financial Times 1532:was praised in 1374:The Irish Times 1364: 1342: 1340:The Independent 1300:The Independent 1297:Paul Taylor of 1241: 1212:performance of 1148: 998: 917:Yale University 898:Athenian empire 801:The English Cat 784:to open at the 776:to re-open the 769:The White Devil 739: 642:Patrice Chéreau 606:was printed in 598:(1971) for the 481:William Gaskill 447:The War Trilogy 347: 281: 215: 207: 203: 200: 199:Elisabeth Pablé 189: 166: 81:London, England 80: 76: 63: 57: 55: 54: 45: 33: 24: 17: 12: 11: 5: 7211: 7201: 7200: 7195: 7190: 7185: 7180: 7175: 7170: 7165: 7160: 7155: 7150: 7145: 7128: 7127: 7125: 7124: 7103: 7101: 7094: 7093: 7091: 7090: 7078: 7068: 7056: 7040: 7033: 7023: 7013: 7003: 6993: 6974: 6972: 6968: 6967: 6965: 6964: 6954: 6947: 6937: 6927: 6915: 6897: 6890: 6880: 6869: 6867: 6863: 6862: 6860: 6859: 6849: 6842: 6832: 6814: 6807:Ron Hutchinson 6804: 6795:Peter Flannery 6792: 6782: 6771: 6769: 6765: 6764: 6762: 6761: 6758: 6740: 6730: 6720: 6714: 6708: 6698: 6688: 6680: 6678: 6674: 6673: 6671: 6670: 6661:Howard Brenton 6658: 6636: 6624: 6603: 6601: 6597: 6596: 6589: 6588: 6581: 6574: 6566: 6557: 6556: 6554: 6553: 6548: 6543: 6537: 6535: 6531: 6530: 6528: 6527: 6520: 6513: 6506: 6499: 6492: 6485: 6478: 6471: 6464: 6457: 6450: 6443: 6436: 6429: 6421: 6419: 6415: 6414: 6412: 6411: 6406: 6401: 6396: 6391: 6386: 6381: 6376: 6371: 6366: 6361: 6359:Stuart Holroyd 6356: 6351: 6346: 6341: 6336: 6331: 6326: 6320: 6318: 6313: 6310: 6309: 6300: 6299: 6292: 6285: 6277: 6271: 6270: 6256: 6250: 6244: 6239: 6230: 6217: 6208: 6207:, October 2009 6189: 6184: 6172: 6167: 6161: 6154: 6153:External links 6151: 6150: 6149: 6143: 6128: 6122: 6107: 6101: 6086: 6080: 6065: 6059: 6042: 6039: 6036: 6035: 6017: 5999: 5981: 5939: 5899: 5874: 5848: 5822: 5788: 5773: 5741: 5729:"Big Brum TIE" 5720: 5694: 5668: 5634: 5608: 5582: 5557: 5550: 5530: 5504: 5478: 5444: 5418: 5392: 5366: 5340: 5314: 5303: 5285: 5267: 5245: 5223: 5197: 5176: 5163:"Eleven Vests" 5153: 5127: 5120: 5100: 5074: 5048: 5022: 4996: 4970: 4944: 4918: 4911: 4891: 4842: 4829: 4827:, pp. 250 4817: 4815:, pp. 247 4805: 4775: 4759: 4736: 4723: 4710: 4676: 4659: 4646: 4633: 4620: 4611: 4590: 4588:, pp. 324 4578: 4576:, pp. 318 4566: 4564:, pp. 316 4554: 4528: 4521: 4501: 4484: 4475: 4442: 4408: 4401: 4381: 4364: 4355: 4340: 4324: 4305:(3): 129–130. 4280: 4262:. 8 May 1996. 4247: 4213: 4194: 4181: 4161: 4139: 4126: 4115: 4081: 4062:(2): 240–242. 4042: 4030: 4028:, pp. 116 4018: 3984: 3972: 3970:, pp. 103 3960: 3948: 3922: 3909: 3897: 3881: 3869: 3814: 3788: 3746: 3712: 3675: 3649: 3611: 3584:(3): 258–268. 3564: 3552: 3540: 3525: 3513: 3501: 3486: 3474: 3459: 3443: 3427: 3416:. 5 March 2024 3392: 3358: 3327: 3299: 3298: 3296: 3293: 3291: 3288: 3287: 3286: 3283: 3273: 3272: 3269: 3266: 3263: 3260: 3250: 3249: 3242: 3232: 3226: 3220: 3205: 3195: 3185: 3175: 3161: 3151: 3139: 3136: 3135: 3134: 3128: 3122: 3116: 3106: 3096: 3090: 3084: 3072: 3071: 3065: 3059: 3053: 3047: 3041: 3035: 3029: 3023: 3017: 3004: 3001: 3000: 2999: 2989: 2979: 2969: 2953: 2941: 2925: 2909: 2897: 2881: 2874:Julio Cortázar 2859: 2858: 2851:Frank Wedekind 2848: 2841:Frank Wedekind 2838: 2830:John Webster: 2828: 2810:Bertolt Brecht 2807: 2793: 2777: 2776: 2770: 2757: 2741: 2740: 2718: 2699: 2698: 2692: 2686: 2680: 2677:The Golden Age 2674: 2668: 2665:The Fiery Tree 2662: 2656: 2644: 2632: 2620: 2608: 2596: 2584: 2572: 2566: 2563: 2551: 2550: 2544: 2532: 2531: 2525: 2513: 2512: 2496: 2493:Manoel Theatre 2484: 2476: 2468: 2460: 2452: 2444: 2436: 2428: 2420: 2406: 2401:The Under Room 2396: 2388: 2380: 2372: 2356: 2348: 2338: 2326: 2314: 2306: 2298: 2290: 2274: 2273:, 15 July 1993 2267:Maison d'arrêt 2252: 2236: 2216: 2213:Keith Sturgess 2204: 2193:Nick Philippou 2168: 2160: 2148: 2140: 2130: 2122: 2109: 2101: 2094:Gerald Chapman 2085: 2080:: 25 October; 2057: 2043: 2029: 2015: 2001: 1985: 1973: 1955: 1941: 1927: 1905: 1902: 1841: 1838: 1813:post-modernism 1797: 1794: 1782: 1779: 1750:was panned in 1630:'s revival of 1510:, which, with 1432:The Under Room 1395:The Under Room 1363: 1360: 1291:multinationals 1227:medieval Japan 1147: 1144: 1117:production of 997: 994: 896:, against the 834:medieval Japan 738: 735: 680:Frank Wedekind 565:in Germany or 527:Queen Victoria 500:, however the 498:Comedy Theatre 469:cause célèbres 346: 343: 335:The Fiery Tree 280: 277: 217: 216: 205: 201: 198: 197: 195: 191: 190: 188: 187: 181: 174: 172: 171:Notable awards 168: 167: 165: 164: 156: 148: 140: 131: 129: 125: 124: 121: 117: 116: 113: 109: 108: 107: 106: 103: 98: 95: 92: 87: 83: 82: 79:(aged 89) 73: 69: 68: 51: 47: 46: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 7210: 7199: 7196: 7194: 7191: 7189: 7186: 7184: 7181: 7179: 7176: 7174: 7171: 7169: 7166: 7164: 7161: 7159: 7156: 7154: 7151: 7149: 7146: 7144: 7141: 7140: 7138: 7122: 7118: 7117:Lucy Kirkwood 7114: 7113: 7108: 7105: 7104: 7102: 7095: 7088: 7087: 7082: 7079: 7076: 7072: 7071:Bryony Lavery 7069: 7066: 7065: 7060: 7057: 7054: 7050: 7049: 7044: 7043:James Philips 7041: 7038: 7034: 7031: 7027: 7024: 7021: 7017: 7014: 7011: 7007: 7004: 7001: 6997: 6996:Zinnie Harris 6994: 6991: 6987: 6983: 6979: 6976: 6975: 6973: 6969: 6962: 6958: 6955: 6952: 6948: 6945: 6941: 6940:Ayub Khan-Din 6938: 6935: 6931: 6928: 6925: 6924: 6919: 6916: 6913: 6909: 6905: 6904:The Treatment 6901: 6898: 6895: 6891: 6888: 6884: 6883:Terry Johnson 6881: 6878: 6874: 6871: 6870: 6868: 6864: 6857: 6853: 6850: 6847: 6843: 6840: 6836: 6833: 6830: 6826: 6822: 6818: 6815: 6812: 6808: 6805: 6802: 6801: 6796: 6793: 6790: 6786: 6783: 6780: 6776: 6775:David Pownall 6773: 6772: 6770: 6766: 6759: 6756: 6755:The Glad Hand 6752: 6748: 6744: 6741: 6738: 6734: 6731: 6728: 6724: 6721: 6718: 6715: 6712: 6709: 6706: 6702: 6699: 6696: 6692: 6689: 6686: 6682: 6681: 6679: 6675: 6668: 6667: 6662: 6659: 6656: 6655: 6650: 6646: 6645: 6640: 6637: 6634: 6633: 6628: 6627:Peter Nichols 6625: 6622: 6618: 6614: 6613: 6608: 6605: 6604: 6602: 6598: 6594: 6587: 6582: 6580: 6575: 6573: 6568: 6567: 6564: 6552: 6549: 6547: 6544: 6542: 6539: 6538: 6536: 6532: 6526: 6525: 6521: 6519: 6518: 6514: 6512: 6511: 6507: 6505: 6504: 6500: 6498: 6497: 6493: 6491: 6490: 6486: 6484: 6483: 6479: 6477: 6476: 6472: 6469: 6465: 6463: 6462: 6458: 6456: 6455: 6451: 6449: 6448: 6444: 6442: 6441: 6437: 6435: 6434: 6430: 6428: 6427: 6423: 6422: 6420: 6416: 6410: 6407: 6405: 6404:Arnold Wesker 6402: 6400: 6397: 6395: 6392: 6390: 6389:Kenneth Tynan 6387: 6385: 6382: 6380: 6379:Alan Sillitoe 6377: 6375: 6374:Harold Pinter 6372: 6370: 6367: 6365: 6362: 6360: 6357: 6355: 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6330: 6327: 6325: 6324:Kingsley Amis 6322: 6321: 6319: 6311: 6307: 6306: 6298: 6293: 6291: 6286: 6284: 6279: 6278: 6275: 6268: 6264: 6260: 6257: 6254: 6251: 6249: 6245: 6243: 6240: 6238: 6234: 6231: 6229: 6225: 6221: 6218: 6216: 6212: 6209: 6206: 6205: 6200: 6196: 6193: 6190: 6188: 6185: 6183: 6173: 6171: 6168: 6165: 6162: 6160: 6157: 6156: 6146: 6140: 6136: 6135: 6129: 6125: 6119: 6115: 6114: 6108: 6104: 6102:0-413-38290-7 6098: 6094: 6093: 6087: 6083: 6081:0-413-46260-9 6077: 6073: 6072: 6066: 6062: 6060:0-904844-21-8 6056: 6052: 6051: 6045: 6044: 6031: 6027: 6026:"Edward Bond" 6021: 6013: 6009: 6003: 5995: 5991: 5985: 5978: 5966: 5962: 5958: 5954: 5950: 5943: 5928: 5924: 5920: 5916: 5915: 5910: 5903: 5888: 5884: 5878: 5862: 5858: 5852: 5837: 5833: 5826: 5811: 5807: 5803: 5799: 5792: 5784: 5777: 5769: 5755: 5751: 5745: 5730: 5724: 5709: 5705: 5698: 5683: 5679: 5672: 5657: 5653: 5649: 5645: 5638: 5622: 5618: 5612: 5597: 5593: 5586: 5571: 5567: 5561: 5553: 5547: 5543: 5542: 5534: 5519: 5515: 5508: 5493: 5489: 5482: 5467: 5463: 5459: 5455: 5448: 5433: 5429: 5422: 5407: 5403: 5396: 5381: 5377: 5370: 5355: 5351: 5344: 5329: 5325: 5318: 5312: 5307: 5299: 5295: 5289: 5281: 5277: 5271: 5255: 5249: 5233: 5227: 5211: 5207: 5201: 5193: 5186: 5180: 5172: 5168: 5164: 5157: 5141: 5137: 5131: 5123: 5121:9786257582421 5117: 5113: 5112: 5104: 5089: 5085: 5078: 5063: 5059: 5052: 5037: 5033: 5026: 5011: 5007: 5000: 4985: 4981: 4974: 4959: 4955: 4948: 4932: 4928: 4922: 4914: 4908: 4904: 4903: 4895: 4887: 4883: 4879: 4875: 4871: 4867: 4860: 4853: 4851: 4849: 4847: 4839: 4833: 4826: 4821: 4814: 4809: 4793: 4789: 4785: 4779: 4772: 4768: 4763: 4757: 4754: 4750: 4748: 4740: 4733: 4727: 4720: 4714: 4699: 4695: 4691: 4687: 4680: 4673: 4669: 4663: 4656: 4650: 4643: 4637: 4630: 4624: 4615: 4608: 4604: 4600: 4594: 4587: 4582: 4575: 4570: 4563: 4558: 4543: 4539: 4532: 4524: 4518: 4514: 4513: 4505: 4498: 4494: 4488: 4479: 4464: 4460: 4456: 4452: 4446: 4431: 4427: 4423: 4419: 4412: 4404: 4398: 4394: 4393: 4385: 4378: 4374: 4368: 4359: 4352: 4347: 4345: 4336: 4335: 4334:Theater Three 4328: 4320: 4316: 4312: 4308: 4304: 4300: 4296: 4289: 4287: 4285: 4269: 4265: 4261: 4257: 4251: 4236: 4232: 4228: 4224: 4217: 4210: 4209: 4204: 4198: 4191: 4185: 4178: 4174: 4171:David Hirst: 4168: 4166: 4157: 4153: 4146: 4144: 4136: 4130: 4124: 4119: 4104: 4100: 4096: 4092: 4085: 4077: 4073: 4069: 4065: 4061: 4057: 4053: 4046: 4039: 4034: 4027: 4022: 4007: 4003: 3999: 3995: 3988: 3981: 3976: 3969: 3964: 3957: 3952: 3936: 3932: 3926: 3919: 3913: 3906: 3901: 3894: 3890: 3885: 3878: 3873: 3865: 3861: 3857: 3853: 3849: 3845: 3841: 3837: 3833: 3829: 3825: 3818: 3803: 3799: 3792: 3784: 3780: 3776: 3772: 3768: 3764: 3757: 3750: 3735: 3731: 3727: 3723: 3716: 3701: 3697: 3693: 3689: 3682: 3680: 3663: 3659: 3653: 3637: 3633: 3629: 3625: 3618: 3616: 3607: 3603: 3599: 3595: 3591: 3587: 3583: 3579: 3575: 3568: 3562:, pp. 14 3561: 3556: 3549: 3544: 3538:, pp. 23 3537: 3532: 3530: 3522: 3517: 3511:, pp. 14 3510: 3505: 3499:, pp. 12 3498: 3493: 3491: 3484:, pp. 15 3483: 3478: 3472:, pp. 13 3471: 3466: 3464: 3456: 3450: 3448: 3440: 3434: 3432: 3415: 3414: 3408: 3401: 3399: 3397: 3381: 3380: 3375: 3371: 3365: 3363: 3355: 3342: 3338: 3331: 3315: 3311: 3304: 3300: 3284: 3281: 3280: 3279: 3277: 3270: 3267: 3264: 3261: 3258: 3257: 3256: 3254: 3247: 3243: 3240: 3236: 3235:Drama Devices 3233: 3230: 3227: 3223: 3221:1-4725-3670-3 3217: 3213: 3212: 3206: 3203: 3199: 3196: 3193: 3189: 3186: 3183: 3179: 3176: 3173: 3169: 3165: 3162: 3159: 3155: 3152: 3149: 3145: 3142: 3141: 3132: 3129: 3126: 3123: 3120: 3117: 3114: 3110: 3107: 3104: 3100: 3097: 3094: 3091: 3088: 3087:Olly's Prison 3085: 3082: 3079: 3078: 3077: 3076: 3070: 3066: 3064: 3060: 3058: 3054: 3052: 3048: 3046: 3042: 3040: 3036: 3034: 3030: 3028: 3024: 3022: 3018: 3016: 3012: 3011: 3010: 3009: 2997: 2993: 2990: 2987: 2983: 2980: 2977: 2973: 2970: 2967: 2963: 2959: 2958: 2954: 2951: 2947: 2946: 2942: 2939: 2935: 2931: 2930: 2926: 2923: 2919: 2915: 2914: 2910: 2907: 2903: 2902: 2898: 2895: 2891: 2887: 2886: 2882: 2879: 2875: 2871: 2870: 2866: 2865: 2864: 2863: 2856: 2852: 2849: 2846: 2842: 2839: 2837: 2833: 2829: 2819: 2815: 2811: 2808: 2805: 2802:(1966), with 2801: 2800:Three Sisters 2797: 2796:Anton Chekhov 2794: 2791: 2787: 2784: 2783: 2782: 2781: 2774: 2771: 2769: 2765: 2761: 2758: 2755: 2751: 2748: 2747: 2746: 2745: 2738: 2734: 2730: 2726: 2722: 2719: 2716: 2712: 2709: 2708: 2707: 2706: 2705: 2696: 2693: 2690: 2687: 2684: 2681: 2678: 2675: 2672: 2669: 2666: 2663: 2660: 2657: 2648: 2645: 2636: 2633: 2624: 2621: 2612: 2609: 2600: 2597: 2589:, for radio, 2588: 2585: 2576: 2573: 2570: 2567: 2564: 2561: 2558: 2557: 2556: 2555: 2548: 2545: 2542: 2539: 2538: 2537: 2536: 2529: 2526: 2523: 2522:Olly's Prison 2520: 2519: 2518: 2517: 2511:, 26 May 2016 2510: 2506: 2502: 2501: 2497: 2494: 2490: 2489: 2485: 2482: 2481: 2477: 2474: 2473: 2469: 2466: 2465: 2461: 2458: 2457: 2453: 2450: 2449: 2445: 2442: 2441: 2437: 2434: 2433: 2429: 2426: 2425: 2421: 2418: 2414: 2413: 2412: 2407: 2404: 2403: 2402: 2397: 2394: 2393: 2389: 2386: 2385: 2381: 2378: 2377: 2373: 2370: 2366: 2365:Alain Françon 2362: 2361: 2357: 2354: 2353: 2349: 2346: 2345: 2344: 2339: 2336: 2332: 2331: 2327: 2324: 2320: 2319: 2315: 2312: 2311: 2307: 2304: 2303: 2299: 2296: 2295: 2291: 2288: 2284: 2280: 2279: 2275: 2272: 2268: 2264: 2263:Jorge Lavelli 2260: 2259: 2258: 2257:Olly's Prison 2253: 2250: 2246: 2242: 2241: 2237: 2234: 2230: 2226: 2225:Alain Françon 2222: 2221: 2217: 2214: 2210: 2209: 2205: 2202: 2198: 2194: 2190: 2186: 2182: 2178: 2174: 2173: 2172:The War Plays 2169: 2166: 2165: 2161: 2158: 2154: 2153: 2149: 2146: 2145: 2141: 2138: 2137: 2136: 2131: 2128: 2127: 2123: 2120: 2119:Howard Davies 2116: 2114: 2110: 2107: 2106: 2102: 2099: 2098:Gay Sweatshop 2095: 2091: 2090: 2086: 2083: 2079: 2078:Grandma Faust 2075: 2071: 2067: 2066:Grandma Faust 2063: 2062: 2058: 2055: 2051: 2050: 2049: 2044: 2041: 2037: 2036: 2035: 2030: 2027: 2023: 2022: 2021: 2016: 2013: 2009: 2008: 2007: 2002: 1999: 1995: 1991: 1990: 1986: 1983: 1979: 1978: 1974: 1971: 1967: 1963: 1962: 1961: 1956: 1953: 1949: 1948: 1947: 1946:Early Morning 1942: 1939: 1935: 1934: 1933: 1928: 1925: 1921: 1920: 1916: 1915: 1914: 1911: 1910: 1904:List of works 1901: 1899: 1895: 1891: 1890: 1885: 1881: 1880: 1875: 1871: 1870: 1865: 1861: 1857: 1853: 1849: 1848: 1837: 1835: 1831: 1830: 1824: 1822: 1818: 1814: 1810: 1805: 1803: 1793: 1790: 1788: 1778: 1776: 1772: 1767: 1765: 1761: 1760: 1755: 1754: 1749: 1745: 1741: 1737: 1733: 1729: 1728: 1723: 1718: 1715: 1711: 1706: 1701: 1695: 1691: 1687: 1683: 1679: 1674: 1672: 1668: 1664: 1663:Ian McDiarmid 1660: 1657: 1653: 1652: 1647: 1646:Eileen Atkins 1643: 1639: 1635: 1634: 1629: 1628:Jonathan Kent 1625: 1619: 1618: 1617:§ Stücke 1612: 1605: 1601: 1597: 1593: 1592:Olly's Prison 1589: 1585: 1581: 1575: 1573: 1569: 1565: 1561: 1557: 1553: 1552: 1547: 1543: 1542: 1537: 1536: 1531: 1527: 1525: 1521: 1517: 1513: 1509: 1505: 1501: 1497: 1493: 1489: 1485: 1481: 1477: 1473: 1472:The War Plays 1469: 1464: 1461: 1456: 1451: 1449: 1445: 1441: 1437: 1433: 1429: 1425: 1421: 1417: 1413: 1408: 1405: 1401: 1396: 1392: 1391: 1386: 1382: 1380: 1376: 1375: 1370: 1359: 1357: 1353: 1349: 1341: 1337: 1332: 1328: 1324: 1320: 1316: 1315:Olly's Prison 1312: 1311: 1310:Olly's Prison 1305: 1302: 1301: 1295: 1292: 1287: 1284:times. While 1283: 1279: 1275: 1273: 1269: 1268: 1263: 1259: 1255: 1251: 1250:The War Plays 1247: 1240: 1236: 1232: 1228: 1224: 1218: 1215: 1214:The War Plays 1211: 1206: 1204: 1200: 1196: 1195:George Orwell 1192: 1189:. The first, 1188: 1187:The War Plays 1183: 1181: 1177: 1173: 1169: 1165: 1161: 1157: 1153: 1152:The War Plays 1143: 1140: 1138: 1134: 1133: 1132:Olly's Prison 1128: 1124: 1120: 1119:The War Plays 1116: 1112: 1108: 1107: 1101: 1099: 1095: 1091: 1086: 1083: 1079: 1078: 1073: 1069: 1065: 1061: 1058: 1054: 1053: 1048: 1044: 1040: 1036: 1033:, as well as 1032: 1028: 1024: 1020: 1016: 1012: 1008: 1004: 993: 991: 990:Falklands War 987: 983: 979: 975: 971: 967: 963: 962: 957: 953: 948: 946: 942: 938: 934: 930: 926: 922: 918: 914: 909: 907: 903: 899: 895: 891: 890: 885: 884: 879: 876:and based on 875: 871: 866: 864: 859: 855: 851: 847: 843: 839: 835: 831: 827: 822: 818: 813: 811: 807: 803: 802: 797: 796: 791: 790:Covent Garden 787: 783: 779: 775: 771: 770: 765: 761: 757: 756:Gay Sweatshop 753: 749: 745: 734: 732: 728: 724: 720: 716: 712: 708: 704: 700: 699: 694: 690: 689: 683: 681: 677: 676: 670: 668: 664: 663: 658: 653: 650: 645: 643: 639: 635: 634: 629: 625: 624: 619: 615: 611: 610: 605: 601: 597: 593: 589: 585: 581: 580: 574: 572: 571:Early Morning 568: 564: 560: 555: 552: 548: 544: 543:Prince Albert 540: 536: 535:Siamese twins 532: 528: 524: 523: 522:Early Morning 517: 515: 511: 507: 503: 499: 494: 490: 486: 482: 477: 474: 470: 466: 465: 459: 457: 453: 449: 448: 443: 442: 437: 433: 429: 425: 421: 420: 415: 410: 408: 404: 400: 396: 395: 390: 389:tour de force 386: 385: 380: 376: 372: 368: 364: 360: 356: 355:Arnold Wesker 352: 342: 340: 336: 332: 328: 323: 321: 315: 312: 311:Donald Wolfit 308: 307: 302: 297: 294: 290: 287:. As a child 286: 276: 274: 272: 267: 266: 261: 260: 255: 254: 249: 248: 243: 242: 237: 233: 232: 227: 223: 196: 192: 185: 182: 179: 176: 175: 173: 169: 162: 161: 157: 154: 153: 149: 146: 145: 141: 138: 137: 133: 132: 130: 128:Notable works 126: 122: 118: 114: 110: 104: 102: 99: 96: 93: 90: 89: 88: 84: 74: 70: 66: 52: 48: 41: 36: 29: 26: 22: 7120: 7110: 7084: 7074: 7062: 7059:Dennis Kelly 7052: 7046: 7036: 7029: 7019: 7009: 7006:Peter Rumney 6999: 6989: 6986:Tanika Gupta 6981: 6960: 6957:Roy Williams 6950: 6944:East is East 6943: 6933: 6921: 6912:The Clearing 6911: 6903: 6900:Martin Crimp 6893: 6886: 6876: 6855: 6845: 6838: 6828: 6825:Heidi Thomas 6820: 6810: 6798: 6788: 6785:Karim Alrawi 6778: 6754: 6746: 6736: 6726: 6717:David Rudkin 6704: 6694: 6684: 6664: 6652: 6648: 6642: 6639:Peter Barnes 6630: 6620: 6617:Wole Soyinka 6610: 6607:Tom Stoppard 6551:The Movement 6522: 6515: 6508: 6501: 6494: 6489:The Outsider 6487: 6480: 6473: 6459: 6452: 6445: 6438: 6431: 6424: 6409:Colin Wilson 6384:David Storey 6369:John Osborne 6364:Bill Hopkins 6354:Thomas Hinde 6338: 6334:Stan Barstow 6303: 6228:Screenonline 6202: 6133: 6112: 6091: 6070: 6049: 6030:the original 6020: 6011: 6002: 5994:the original 5984: 5976: 5969:. Retrieved 5952: 5942: 5930:. Retrieved 5918: 5912: 5902: 5890:. Retrieved 5886: 5877: 5865:. Retrieved 5861:the original 5851: 5839:. Retrieved 5835: 5825: 5813:. Retrieved 5801: 5791: 5776: 5767: 5758:. Retrieved 5754:the original 5744: 5732:. Retrieved 5723: 5711:. Retrieved 5707: 5697: 5685:. Retrieved 5681: 5671: 5659:. Retrieved 5648:The Guardian 5647: 5637: 5625:. Retrieved 5621:the original 5611: 5599:. Retrieved 5595: 5585: 5573:. Retrieved 5569: 5560: 5540: 5533: 5521:. Retrieved 5518:The Guardian 5517: 5507: 5495:. Retrieved 5492:The Guardian 5491: 5481: 5469:. Retrieved 5457: 5447: 5435:. Retrieved 5431: 5421: 5409:. Retrieved 5406:The Guardian 5405: 5395: 5383:. Retrieved 5379: 5369: 5357:. Retrieved 5353: 5343: 5331:. Retrieved 5327: 5317: 5306: 5297: 5288: 5279: 5270: 5258:. Retrieved 5248: 5236:. Retrieved 5226: 5214:. Retrieved 5209: 5200: 5191: 5179: 5170: 5166: 5156: 5144:. Retrieved 5139: 5130: 5110: 5103: 5091:. Retrieved 5087: 5077: 5065:. Retrieved 5061: 5051: 5039:. Retrieved 5035: 5025: 5013:. Retrieved 5009: 4999: 4987:. Retrieved 4984:The Guardian 4983: 4973: 4961:. Retrieved 4957: 4947: 4935:. Retrieved 4930: 4921: 4901: 4894: 4869: 4865: 4837: 4832: 4820: 4808: 4796:. Retrieved 4792:the original 4787: 4778: 4762: 4747:The Guardian 4746: 4739: 4731: 4726: 4718: 4713: 4701:. Retrieved 4690:The Guardian 4689: 4679: 4671: 4667: 4662: 4654: 4649: 4641: 4636: 4629:The Guardian 4628: 4623: 4614: 4606: 4602: 4598: 4593: 4581: 4569: 4557: 4545:. Retrieved 4542:The Guardian 4541: 4531: 4511: 4504: 4492: 4487: 4478: 4466:. Retrieved 4454: 4445: 4433:. Retrieved 4421: 4411: 4391: 4384: 4376: 4373:The Guardian 4372: 4367: 4358: 4333: 4327: 4302: 4298: 4271:. Retrieved 4259: 4250: 4238:. Retrieved 4226: 4216: 4206: 4202: 4197: 4189: 4184: 4175:, New York, 4172: 4155: 4135:Bond on File 4134: 4129: 4118: 4106:. Retrieved 4094: 4084: 4059: 4055: 4045: 4037: 4033: 4026:Spencer 1992 4021: 4009:. Retrieved 3997: 3987: 3975: 3963: 3951: 3939:. Retrieved 3935:The Guardian 3934: 3925: 3917: 3912: 3900: 3888: 3884: 3876: 3872: 3831: 3827: 3817: 3805:. Retrieved 3802:The Guardian 3801: 3791: 3766: 3762: 3749: 3737:. Retrieved 3726:The Guardian 3725: 3715: 3703:. Retrieved 3691: 3666:. Retrieved 3661: 3652: 3639:. Retrieved 3628:The Guardian 3627: 3581: 3578:Modern Drama 3577: 3567: 3560:Spencer 1992 3555: 3550:, pp. 6 3543: 3516: 3504: 3477: 3454: 3438: 3418:. Retrieved 3411: 3383:. Retrieved 3379:The Guardian 3377: 3344:. Retrieved 3341:The Guardian 3340: 3330: 3317:. Retrieved 3313: 3303: 3275: 3274: 3252: 3251: 3245: 3238: 3234: 3228: 3210: 3201: 3197: 3191: 3187: 3181: 3177: 3171: 3167: 3164:Introduction 3163: 3157: 3153: 3147: 3146:(1977), in: 3143: 3130: 3124: 3118: 3112: 3109:The Children 3108: 3102: 3099:Eleven Vests 3098: 3092: 3086: 3080: 3074: 3073: 3068: 3062: 3056: 3050: 3044: 3038: 3032: 3026: 3020: 3014: 3007: 3006: 2991: 2981: 2971: 2961: 2957:Days of Fury 2955: 2943: 2938:Nicolas Roeg 2927: 2911: 2899: 2883: 2867: 2861: 2860: 2854: 2844: 2831: 2817: 2813: 2799: 2789: 2779: 2778: 2772: 2759: 2753: 2749: 2743: 2742: 2732: 2728: 2724: 2720: 2714: 2710: 2701: 2700: 2694: 2688: 2682: 2676: 2670: 2664: 2658: 2646: 2634: 2622: 2610: 2598: 2586: 2575:Too Late Now 2574: 2568: 2559: 2553: 2552: 2546: 2540: 2534: 2533: 2527: 2521: 2515: 2514: 2499: 2498: 2487: 2486: 2479: 2478: 2471: 2470: 2463: 2462: 2455: 2454: 2447: 2446: 2439: 2438: 2431: 2430: 2423: 2422: 2416: 2410: 2409: 2399: 2398: 2391: 2390: 2383: 2382: 2375: 2374: 2368: 2359: 2358: 2351: 2350: 2341: 2340: 2330:The Children 2329: 2328: 2322: 2317: 2316: 2310:Eleven Vests 2309: 2308: 2301: 2300: 2293: 2292: 2282: 2277: 2276: 2266: 2255: 2254: 2239: 2238: 2228: 2219: 2218: 2207: 2206: 2196: 2188: 2184: 2176: 2170: 2164:Human Cannon 2163: 2162: 2151: 2150: 2143: 2142: 2133: 2132: 2125: 2124: 2112: 2111: 2104: 2103: 2088: 2087: 2081: 2077: 2069: 2065: 2060: 2059: 2046: 2045: 2032: 2031: 2018: 2017: 2010:(1969–1971) 2004: 2003: 1988: 1987: 1976: 1975: 1958: 1957: 1950:(1965–1967) 1944: 1943: 1930: 1929: 1918: 1917: 1912: 1908: 1907: 1897: 1892:(1971, dir. 1887: 1884:Nicolas Roeg 1882:(1971, dir. 1877: 1872:(1968, dir. 1867: 1845: 1843: 1833: 1827: 1825: 1816: 1806: 1799: 1796:Publications 1791: 1784: 1768: 1757: 1751: 1747: 1743: 1739: 1735: 1725: 1719: 1713: 1704: 1694:The Guardian 1693: 1689: 1685: 1681: 1675: 1666: 1649: 1631: 1599: 1595: 1591: 1576: 1571: 1567: 1559: 1555: 1549: 1546:The Guardian 1545: 1540: 1534: 1529: 1528: 1523: 1522:, he called 1519: 1515: 1511: 1507: 1503: 1499: 1495: 1491: 1487: 1483: 1471: 1467: 1465: 1455:Eleven Vests 1454: 1452: 1444:The Children 1443: 1439: 1435: 1431: 1427: 1423: 1420:Eleven Vests 1419: 1415: 1409: 1403: 1399: 1394: 1389: 1384: 1383: 1378: 1372: 1368: 1365: 1355: 1351: 1347: 1339: 1335: 1322: 1318: 1314: 1308: 1306: 1298: 1296: 1285: 1277: 1276: 1267:The Guardian 1265: 1262:Human Cannon 1261: 1257: 1253: 1249: 1245: 1239:The Guardian 1238: 1234: 1230: 1222: 1219: 1213: 1207: 1202: 1198: 1190: 1186: 1184: 1170:students in 1151: 1149: 1141: 1136: 1130: 1127:Cicely Berry 1122: 1118: 1104: 1102: 1098:Human Cannon 1097: 1094:Human Cannon 1093: 1087: 1075: 1063: 1062: 1056: 1055:also panned 1050: 1042: 1038: 1035:Human Cannon 1034: 1030: 1022: 1018: 1014: 1010: 1002: 999: 985: 973: 969: 959: 949: 944: 940: 924: 910: 887: 883:Trojan Women 881: 869: 867: 862: 861:Boon called 845: 842:Richard Eder 829: 820: 814: 809: 806:A-A-America! 805: 799: 793: 767: 747: 743: 740: 730: 726: 723:Off-Broadway 714: 696: 686: 684: 673: 671: 660: 659:-set comedy 655:The subdued 654: 646: 637: 631: 621: 617: 613: 607: 603: 595: 587: 577: 575: 570: 558: 556: 520: 518: 492: 478: 472: 462: 461:Bond's play 460: 455: 451: 445: 440: 435: 431: 424:The Guardian 423: 417: 411: 406: 398: 394:The Observer 392: 388: 382: 378: 374: 362: 359:Ann Jellicoe 348: 338: 334: 324: 316: 304: 298: 282: 270: 264: 258: 252: 246: 239: 229: 221: 220: 159: 151: 143: 135: 105:screenwriter 77:(2024-03-03) 75:3 March 2024 62:18 July 1934 44:Bond in 2001 25: 7148:2024 deaths 7143:1934 births 6978:David Greig 6934:Some Voices 6930:Joe Penhall 6873:Lucy Gannon 6852:Billy Roche 6821:On the Edge 6817:Guy Hibbert 6751:Snoo Wilson 6723:David Edgar 6649:Edward Bond 6433:Declaration 6344:John Braine 6339:Edward Bond 6233:Edward Bond 6211:Edward Bond 6181:(in French) 6134:Edward Bond 5921:(3): 1–14. 5760:17 November 5570:Dailymotion 5298:Dailymotion 5280:Dailymotion 5210:Dailymotion 5140:Dailymotion 4512:Edward Bond 4177:Grove Press 4173:Edward Bond 3834:(3): 1–14. 3548:Mangan 2018 3214:. Methuen. 3200:(1989) in: 3180:(1992), in 3113:Have I None 2862:Screenplays 2825: 1970 2725:Restoration 2654: 1958 2642: 1957 2630: 1958 2618: 1958 2606: 1958 2594: 1958 2582: 1957 2560:The Tragedy 2535:Radio plays 2343:Have I None 2197:Great Peace 2135:Restoration 2040:Jane Howell 1994:Bill Bryden 1982:David Jones 1966:Jane Howell 1732:Sean Holmes 1700:Lyn Gardner 1667:Restoration 1598:(2001) and 1512:Have I None 1492:Have I None 1438:(2007) and 1424:Have I None 1385:Have I None 1362:Later years 1282:post-modern 1203:Great Peace 1164:nuclear war 1082:Adam Thorpe 1043:Restoration 1015:Restoration 1007:Burgtheater 970:Restoration 961:Restoration 921:eleven-plus 906:proletariat 902:aristocracy 844:criticized 748:A-A-America 693:Shakespeare 667:World War I 628:Shakespeare 626:, based on 567:Claude Régy 563:Peter Stein 547:Beachy Head 441:Restoration 375:Edward Bond 301:Shakespeare 265:Restoration 32:Edward Bond 7137:Categories 7112:The Author 7107:Tim Crouch 7016:Rona Munro 6961:Starstruck 6789:Migrations 6711:John Arden 6426:Billy Liar 6329:John Arden 6314:Associated 5750:"Big Brum" 4836:see Bond: 4631:9 May 2006 4495:, London, 3941:6 December 3509:Coult 1979 3497:Coult 1979 3470:Coult 1979 3290:References 3156:(1980) in 3148:The Bundle 2986:H.Melville 2974:, from H. 2916:, from V. 2890:von Kleist 2888:, from H. 2683:The Outing 2363:(2002–03) 2245:Greg Doran 2223:(1987–88) 2199:(1984–85) 2179:(1983–84) 2126:The Worlds 2113:The Bundle 2074:Jack Emery 2054:Peter Gill 1977:Black Mass 1922:(1961–62) 1809:capitalism 1661:featuring 1642:David Haig 1608: (see 1602:(2008) at 1412:Birmingham 1348:The Worlds 1327:fairy tale 1272:Theatre503 1090:Peter Hall 1072:open stage 1047:Frank Rich 1039:Jackets II 1011:The Worlds 945:The Worlds 925:The Worlds 874:Trojan War 863:The Bundle 856:panned an 846:The Bundle 830:The Bundle 719:Obie award 703:John Clare 614:Black Mass 588:Black Mass 384:Daily Mail 351:John Arden 279:Early life 184:Obie Award 91:Playwright 86:Occupation 58:1934-07-18 7086:The Pride 7075:Stockholm 6971:2000–2009 6866:1990–1999 6835:Nick Dear 6768:1980–1989 6747:Prejudice 6733:David Lan 6677:1970–1979 6600:1967–1969 6482:Lucky Jim 6418:Key works 6394:John Wain 5961:0190-8286 5892:26 August 5836:Londonist 5810:0140-0460 5802:The Times 5656:0261-3077 5627:3 October 5466:0362-4331 4886:194096667 4825:Bond 1998 4813:Bond 1998 4771:John Tusa 4753:answer by 4698:0261-3077 4586:Bond 1998 4574:Bond 1998 4562:Bond 1998 4538:"Attack!" 4491:P. Hall: 4463:0362-4331 4430:0362-4331 4319:1048-6801 4268:0362-4331 4235:0362-4331 4103:0362-4331 4006:0362-4331 3848:1520-281X 3783:194096667 3734:0261-3077 3700:0362-4331 3636:0261-3077 3606:201757110 3598:1712-5286 3295:Citations 2982:Moby Dick 2929:Walkabout 2697:, 1975–76 2685:, 1959–60 2571:, 1956–57 2547:Existence 2440:Innocence 2352:Existence 2240:September 2201:Nick Hamm 2181:Nick Hamm 2157:Nick Hamm 2105:The Woman 2082:The Swing 2070:The Swing 1879:Walkabout 1764:Londonist 1759:The Times 1753:The Stage 1659:Sheffield 1611:‹See Tfd› 1590:produced 1568:Existence 1508:Innocence 1448:Cambridge 1404:Innocence 1231:Jackets I 1106:War Plays 1064:The Woman 1019:The Woman 878:Euripides 870:The Woman 826:Warehouse 752:agit-prop 725:play and 657:Edwardian 647:In 1972, 633:King Lear 584:agit-prop 123:1958–2016 67:, England 6963:(1998/9) 6195:Archived 5965:Archived 5927:30131055 5734:19 March 5575:19 March 5523:30 March 5260:19 March 5238:19 March 5216:19 March 5146:19 March 5067:29 March 5041:29 March 4989:29 March 4963:29 March 4958:USC News 4937:29 March 4798:19 March 4547:29 March 3864:57568352 3856:30131055 3807:30 March 3668:31 March 3641:30 March 3346:30 March 3168:The Fool 3003:Editions 2966:U. Pirro 2964:), with 2715:The Fool 2464:The Edge 2448:A Window 2048:The Fool 1740:The Edge 1686:The Fool 1614:German: 1586:and the 1564:Tiresias 1560:A Window 1440:A Window 1430:(2003), 1426:(2000), 1331:Babi Yar 1168:Sicilian 1158:and the 1156:Cold War 1115:Barbican 758:and the 727:The Fool 721:as Best 717:won the 698:The Fool 539:Disraeli 405:praised 262:(1975), 259:The Fool 256:(1973), 250:(1971), 244:(1968), 160:The Fool 112:Language 6727:Destiny 6534:Related 6316:writers 6261:at the 6237:Discogs 6222:at the 6201:by the 6041:Sources 5971:8 March 5932:5 March 5867:10 June 5841:24 July 5815:24 July 5771:agency. 5713:20 July 5687:20 July 5661:20 July 5601:13 June 5497:19 July 5471:19 July 5437:19 July 5411:19 July 5385:19 July 5359:19 July 5354:Variety 5350:"Chair" 5333:19 July 5324:"Chair" 5093:11 July 4751:and an 4719:Letters 4672:Letters 4668:Letters 4642:Letters 4607:Letters 4603:Letters 4599:Letters 4435:28 June 4377:Letters 4240:20 June 4201:Bashō: 4190:Letters 4076:3208928 4011:11 June 3893:Methuen 3420:5 March 3385:5 March 3319:28 June 3253:Letters 3211:Plays 6 3182:Tuesday 3103:Tuesday 2994:, from 2984:, from 2936:, dir: 2932:, from 2920:, dir: 2918:Nabokov 2892:, dir: 2876:, dir: 2872:, from 2760:Orpheus 2721:The Cat 2528:Tuesday 2333:(1999) 2278:Tuesday 2243:(1989) 2211:(1986) 2191:(1984) 2155:(1982) 2117:(1977) 2020:The Sea 1989:Passion 1980:(1970) 1964:(1968) 1936:(1964) 1864:Nabokov 1821:Methuen 1654:at the 1640:, with 1636:at the 1633:The Sea 1580:Molière 1541:Variety 1474:at the 1434:(2005) 1319:Tuesday 1258:Jackets 1254:Jackets 1246:Jackets 1223:Jackets 1172:Palermo 1137:Tuesday 954:led by 778:Old Vic 764:Webster 662:The Sea 618:Passion 604:Passion 596:Passion 452:Coffee, 436:The Sea 428:Marxist 306:Macbeth 273:trilogy 253:The Sea 214: 206: 202: 152:The Sea 115:English 7089:(2009) 7077:(2008) 7067:(2007) 7039:(2005) 7032:(2004) 7022:(2003) 7012:(2002) 7002:(2001) 6953:(1997) 6946:(1996) 6936:(1995) 6926:(1994) 6896:(1992) 6889:(1991) 6879:(1990) 6858:(1989) 6848:(1988) 6841:(1986) 6813:(1984) 6803:(1983) 6791:(1982) 6781:(1981) 6757:(1978) 6739:(1976) 6729:(1975) 6719:(1974) 6713:(1973) 6707:(1972) 6697:(1971) 6687:(1970) 6669:(1969) 6635:(1967) 6141: 6120: 6099: 6078: 6057: 5959: 5925: 5808: 5654: 5548: 5464: 5118: 5015:1 July 4909: 4884: 4703:1 July 4696: 4519: 4468:2 July 4461: 4428: 4399: 4317: 4273:2 July 4266: 4233: 4211:) 1689 4108:2 July 4101: 4074: 4004: 3862: 3854: 3846: 3781: 3739:2 July 3732: 3705:9 June 3698: 3634: 3604: 3596: 3354:Brecht 3218: 3192:Coffee 3190:, in: 3166:, for 3133:(2016) 3127:(2012) 3115:(2001) 3105:(1997) 3095:(1997) 2992:Ithaca 2952:, 1971 2940:, 1971 2924:, 1969 2908:, 1969 2896:, 1968 2880:, 1967 2869:Blowup 2792:(1965) 2766:, for 2679:, 1959 2673:, 1959 2667:, 1958 2661:, 1958 2509:Sutton 2424:Arcade 2417:Chaise 2392:People 2369:Naître 2294:Coffee 2144:Summer 1898:Blowup 1847:Blowup 1697:'s 1535:Exeunt 1516:Coffee 1504:People 1484:Coffee 1352:Coffee 1343:'s 1336:Coffee 1323:Coffee 1180:Brecht 1057:Summer 1031:Summer 1023:Summer 974:Summer 894:Hecuba 850:Brecht 357:, and 320:Vienna 194:Spouse 186:(1976) 180:(1968) 163:(1974) 155:(1971) 147:(1969) 139:(1965) 120:Period 7097:2010– 6705:AC/DC 6510:Saved 5923:JSTOR 5188:(PDF) 4882:S2CID 4862:(PDF) 4743:see: 4072:JSTOR 3918:Saved 3877:Saved 3860:S2CID 3852:JSTOR 3779:S2CID 3759:(PDF) 3602:S2CID 3202:Plays 3172:Plays 3170:, in 3158:Plays 3119:Saved 3111:with 3101:with 2996:Homer 2976:Ibsen 2960:(AKA 2814:Heads 2773:Burns 2541:Chair 2411:Chair 2283:Mardi 2152:Derek 2089:Stone 2034:Bingo 1932:Saved 1909:Plays 1856:Oscar 1727:Saved 1600:Chair 1596:Saved 1558:. Of 1530:Chair 1500:Chair 1390:Chair 1377:that 1354:(and 1242:' 986:Derek 941:Saved 915:from 838:Bashō 821:Bingo 810:Stone 744:Stone 715:Bingo 688:Bingo 559:Saved 493:Saved 473:Saved 464:Saved 432:Saved 377:that 371:Essex 231:Saved 208:( 204: 136:Saved 7119:for 7115:and 7109:for 7099:9999 7083:for 7073:for 7061:for 7045:for 7028:for 7020:Iron 7018:for 7008:for 6998:for 6988:for 6984:and 6980:for 6959:for 6942:for 6932:for 6920:for 6910:for 6906:and 6902:for 6885:for 6875:for 6854:for 6837:for 6827:for 6823:and 6819:for 6809:for 6797:for 6787:for 6779:Beef 6777:for 6753:for 6749:and 6745:for 6735:for 6725:for 6703:for 6693:for 6663:for 6651:for 6647:and 6641:for 6629:for 6619:for 6615:and 6609:for 6215:IMDb 6139:ISBN 6118:ISBN 6097:ISBN 6076:ISBN 6055:ISBN 5973:2024 5957:ISSN 5934:2024 5894:2019 5869:2017 5843:2020 5817:2020 5806:ISSN 5762:2014 5736:2018 5715:2020 5689:2020 5663:2020 5652:ISSN 5629:2010 5603:2020 5577:2018 5546:ISBN 5525:2021 5499:2020 5473:2020 5462:ISSN 5439:2020 5413:2020 5387:2020 5361:2020 5335:2020 5262:2018 5240:2018 5218:2018 5148:2018 5116:ISBN 5095:2020 5069:2021 5043:2021 5017:2020 4991:2021 4965:2021 4939:2021 4907:ISBN 4800:2018 4734:1994 4705:2020 4694:ISSN 4549:2021 4517:ISBN 4470:2020 4459:ISSN 4437:2020 4426:ISSN 4397:ISBN 4315:ISSN 4275:2020 4264:ISSN 4242:2020 4231:ISSN 4110:2020 4099:ISSN 4038:Lear 4013:2020 4002:ISSN 3943:2022 3844:ISSN 3809:2021 3741:2020 3730:ISSN 3707:2020 3696:ISSN 3670:2021 3643:2021 3632:ISSN 3594:ISSN 3422:2024 3387:2024 3348:2021 3321:2020 3216:ISBN 3081:Lear 2855:Lulu 2432:Tune 2367:(as 2360:Born 2265:(as 2227:(as 2183:(as 2006:Lear 1756:and 1738:and 1720:The 1665:and 1651:Lear 1644:and 1572:Born 1554:and 1518:and 1506:and 1498:and 1496:Born 1436:Tune 1402:and 1400:Born 1393:and 1252:and 1233:and 1135:and 1037:and 1021:and 1013:and 1003:Lear 889:Lear 772:for 746:and 638:Lear 623:Lear 616:and 594:and 541:and 529:and 456:Born 454:and 337:and 247:Lear 144:Lear 97:poet 72:Died 50:Born 6226:'s 6224:BFI 6213:at 5914:PAJ 4874:doi 4769:by 4307:doi 4064:doi 3836:doi 3771:doi 3586:doi 3314:TLS 3131:Dea 2820:) ( 2500:Dea 2285:), 2269:), 2231:), 1866:'s 1748:Dea 1307:In 1049:of 788:in 766:'s 630:'s 600:CND 434:to 309:by 303:'s 271:War 7139:: 6010:. 5975:. 5963:. 5955:. 5951:. 5919:29 5917:. 5911:. 5885:. 5834:. 5804:. 5800:. 5706:. 5680:. 5650:. 5646:. 5594:. 5568:. 5516:. 5490:. 5460:. 5456:. 5430:. 5404:. 5378:. 5352:. 5326:. 5296:. 5278:. 5208:. 5190:. 5171:24 5169:. 5165:. 5138:. 5086:. 5060:. 5034:. 5008:. 4982:. 4956:. 4929:. 4880:. 4870:29 4868:. 4864:. 4845:^ 4786:. 4692:. 4688:. 4540:. 4453:. 4424:. 4420:. 4343:^ 4313:. 4301:. 4297:. 4283:^ 4258:. 4229:. 4225:. 4164:^ 4154:. 4142:^ 4097:. 4093:. 4070:. 4060:45 4058:. 4054:. 4000:. 3996:. 3933:. 3858:. 3850:. 3842:. 3832:29 3830:. 3826:. 3800:. 3777:. 3767:29 3765:. 3761:. 3728:. 3724:. 3694:. 3690:. 3678:^ 3660:. 3630:. 3626:. 3614:^ 3600:. 3592:. 3582:23 3580:. 3576:. 3528:^ 3489:^ 3462:^ 3446:^ 3430:^ 3410:. 3395:^ 3376:. 3361:^ 3356:." 3339:. 3312:. 2853:: 2843:: 2822:c. 2812:: 2798:: 2788:: 2651:c. 2649:, 2639:c. 2637:, 2627:c. 2615:c. 2603:c. 2591:c. 2579:c. 2247:, 2175:: 2096:, 2064:: 1968:, 1823:. 1777:. 1692:. 1673:. 1538:, 1514:, 1494:, 1490:, 1486:, 1387:, 1235:II 880:' 792:: 733:. 537:, 516:. 491:. 450:, 444:, 353:, 210:m. 6585:e 6578:t 6571:v 6470:" 6466:" 6296:e 6289:t 6282:v 6147:. 6126:. 6105:. 6084:. 6063:. 6014:. 5936:. 5896:. 5871:. 5845:. 5819:. 5785:. 5764:. 5717:. 5691:. 5665:. 5631:. 5605:. 5579:. 5554:. 5527:. 5501:. 5475:. 5441:. 5415:. 5389:. 5363:. 5337:. 5264:. 5242:. 5220:. 5194:. 5173:. 5150:. 5124:. 5097:. 5071:. 5045:. 5019:. 4993:. 4967:. 4941:. 4915:. 4888:. 4876:: 4802:. 4707:. 4551:. 4525:. 4472:. 4439:. 4405:. 4321:. 4309:: 4303:7 4277:. 4244:. 4205:( 4158:. 4112:. 4078:. 4066:: 4015:. 3945:. 3866:. 3838:: 3811:. 3785:. 3773:: 3743:. 3709:. 3672:. 3645:. 3608:. 3588:: 3424:. 3389:. 3350:. 3323:. 3224:. 2816:( 1620:) 333:( 60:) 56:( 23:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index