Relevant bibliographies by topics / English Theater Great Britain

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'English Theater Great Britain'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "English Theater Great Britain"

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Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (January 1989): 1–22. http://dx.doi.org/10.1086/385923.

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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering enveloping the act of regicide in 1649. What is the relationship between the theatrical tradition and the execution of Charles I?Even though historians frequently comment on the “tragic” nature of the execution of Charles I, thus far neither historian nor literary person has bothered to examine the immediate and popular reactions to the act of regicide. This is understandable. An odd mix of imaginative projection and verifiable fact enshrines the execution of Charles, and documentation is admittedly difficult. The available assortment of primary literature, however, indicates that many Englishmen responded to the execution as theater, more specifically, the dramatic genre of tragedy. A 1649 sermon (attributed to the Royalist Robert Brown) exemplifies both the tragic response to the act of regicide and the mid-century employment of the theatrical tradition: Brown describes the execution as “the first act of that tragicall woe which is to be presented upon the Theater of this Kingdome, likely to continue longer then the now living Spectators.”
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MacLean, Sally-Beth. "Drama and ceremony in early modern England: the REED project." Urban History 16 (May 1989): 38–46. http://dx.doi.org/10.1017/s0963926800009160.

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In 1976 a medieval and renaissance theatre history project was launched under the masthead Records of Early English Drama (now more familiarly known as REED). The official launch had taken two years of planning by scholars from Britain, Canada and the United States, and was given assurance for the future through a ten-year major Editorial Grant from the Canada Council. REED's stated goal – then as now – was to find, transcribe and publish evidence of dramatic, ceremonial and musical activity in Great Britain before the theatres were closed in 1642. The systematic survey undertaken would make available for analysis records relating to the evolution of English theatre from its origins in minstrelsy, through the flowering of drama in the renaissance, to the suppression first of local and then of professional entertainment under the Puritans.
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Storey, Taryn. "Devine Intervention: Collaboration and Conspiracy in the History of the Royal Court." New Theatre Quarterly 28, no. 4 (November 2012): 363–78. http://dx.doi.org/10.1017/s0266464x12000668.

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Taryn Storey believes that a series of letters recently discovered in the archive of the Arts Council of Great Britain (ACGB) makes it important that we reassess the genesis of the English Stage Company at the Royal Court. Dating from November 1952, the correspondence between George Devine and William Emrys Williams, the Secretary General of the ACGB, offers an insight into a professional and personal relationship that was to have a profound influence on the emerging Arts Council policy for drama. Storey makes the case that in 1953 Devine not only shaped his Royal Court proposal to fit the priorities of the ACGB Drama Panel, but that Devine and senior members of the ACGB then collaborated to ensure that the proposal became a key part of Arts Council strategic planning. Furthermore, she puts forward the argument that the relationship between Devine and Williams was instrumental to new writing and innovation becoming central to the future rationale for state subsidy to the theatre. Taryn Storey is a doctoral student at the University of Reading. Her PhD thesis examines the relationship between practice and policy in the development of new writing in post-war British theatre, and forms part of the AHRC-funded project ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945–1995’, a collaboration between the University of Reading and the Victoria and Albert Museum.
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Ataie, Iraj Jannatie. "Poems." Index on Censorship 17, no. 9 (October 1988): 30. http://dx.doi.org/10.1080/03064228808534537.

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Iraj Jannatie Ataie (b. 1947), renowned in Iran as a poet, playwright and songwriter, was imprisoned under the Shah and is now in exile from the Khomeini regime. He lives in Britain, where several of his plays have recently been staged to great critical acclaim. Prometheus in Evin, staged in Farsi at the Royal Court in London last year, was hailed by The Guardian as ‘a brilliant and compelling universal story … which must place [Ataie] in the forefront of international playwrights today’. The play, which examines with ruthless honesty the lot of. the intellectual under repressive regimes, has now been produced in English (in Ataie's own translation) by the Mazdak Theatre Group (Young Vic Studio, 3–22 October 1988). A benefit reading of Ataie's poems, in aid of the Kurdish refugees, will be held at the Young Vic on 16 October 1988. The poems below were written in English.
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Aqil, Mammadova Gunay. "American English in Teaching English as a Second Language." International Journal of English Language Studies 3, no. 2 (February 27, 2021): 52–57. http://dx.doi.org/10.32996/ijels.2021.3.2.7.

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With the lapse of time the two nations- Americans and British always blamed each other for “ruining” English. In this article we aim to trace historical “real culprit” and try to break stereotypes about American English status in teaching English as a second language. In comparison with Great Britain the USA has very short and contemporary history; nevertheless, in today’s world American English exceeds British and other variants of English in so many ways, as well as in the choices of language learners. American English differs from other variants of the English language by 4 specific features: Inclusiveness, Flexibility, Innovativeness and Conservativeness. Notwithstanding, British disapprove of Americans taking so many liberties with their common tongue, linguistic researcher Daniela Popescu in her research mentions the fields of activities in which American words penetrated into British English. She classifies those words under 2 categories: everyday vocabulary (480 terms) and functional varieties (313 terms). In the case of functional varieties, the American influence is present in the areas of computing (10 %), journalism (15 %), broadcasting (24%), advertising and sales (5 %), politics and economics (24%), and travelling and transport (22%). Further on, the words and phrases in the broadcasting area have been grouped as belonging to two areas: film, TV, radio and theatre (83%), and music (17%). The purpose of the research paper is to create safe and reliable image of American English in the field of teaching English as a second language. Americans are accused in “ruining” English and for that reason learners are not apt to learn American English. The combination of qualitative and quantitative methods is used while collecting the data. The study concluded that the real culprits are British who started out to ruin English mainly in in the age of Shakespeare and consequently, Americans inherited this ruin from the British as a result of colonization. Luckily, in the Victorian Age British saved their language from the ruins. The paper discusses how prejudices about American English effect the choices of English learners.
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Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (July 18, 2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.

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The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.
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Vorokhta, O. M., and V. D. Bialyk. "ETYMOLOGICAL COMPOSITION OF ENGLISH TOPONYMY OF GREAT BRITAIN." Тrаnscarpathian Philological Studies 10, no. 1 (2019): 59–63. http://dx.doi.org/10.32782/tps2663-4880/2019.10-1.12.

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Lucas, Peter J. "WILLIAM CAMDEN, SEVENTEENTH-CENTURY ATLASES OF THE BRITISH ISLES AND THE PRINTING OF ANGLO-SAXON." Antiquaries Journal 98 (September 2018): 219–44. http://dx.doi.org/10.1017/s000358151800015x.

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The sixth edition of Camden’s Britannia was published in 1607 with over fifty county maps printed from engraved plates. It was a pioneering work. In 1611, John Speed published his Theatre of The Empire of Great Britaine, again with over fifty county maps, many of them engraved by Jodocus Hondius from Amsterdam, and with an abridged version of Camden’s text. These books established a model that was followed later in Amsterdam itself in the great atlases of Blaeu and Janssonius. One of the ways Camden sought to augment the authority of his work was by using Anglo-Saxon types in his text for county names and the occasional passage in Anglo-Saxon (Old English). As the practice persisted, the progress of these type-designs is examined in relation to the development of the atlases. While Hondius’ map-making skills were imported to add to the English text, when the English text was brought to Amsterdam to add to the Dutch maps, the Dutch printers had to use their own skills to reproduce the Anglo-Saxon characters.
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Yarovaya, Yelena B. "Standardization of Primary Education in Great Britain." European Journal of Contemporary Education 12, no. 2 (June 18, 2015): 169–74. http://dx.doi.org/10.13187/ejced.2015.12.169.

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Gu, Cui, and Thanachart Lornklang. "The Use of Picture-word Inductive Model and Readers’ Theater to Improve Chinese EFL Learners’ Vocabulary Learning Achievement." Advances in Language and Literary Studies 12, no. 3 (June 29, 2021): 120. http://dx.doi.org/10.7575/aiac.alls.v.12n.3.p.120.

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Vocabulary, as the fundament of any language, is one of the most crucial aspects of language learning. And it also draws great attention from Chinese learners of English as a foreign language (EFL). This study conducted an experiment to examine the effectiveness of the picture-word inductive model (PWIM) and readers’ theater on Chinese primary EFL learners’ vocabulary learning achievement. The samples were 34 fifth-grade students from a primary school of China. The students received a vocabulary learning treatment with the lesson plans constructed based on the picture-word inductive model and readers’ theater using Chinese Cheng-yu, and an English vocabulary learning achievement test was conducted before and after the treatment. Results of the test showed that the students’ mean scores in the posttest were significantly improved than in the pre-test, and results of the questionnaire showed that the participants were highly satisfied with learning English via picture-word inductive model and readers’ theater. The results indicated that learning English via picture-word inductive model and readers’ theater is an effective way for improving learners’ English vocabulary learning achievement as it provides the visual support and opportunities for learners to engage in vocabulary acquisition.
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Dissertations / Theses on the topic "English Theater Great Britain"

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Clifford, Catherine Rebecca. "Performance spaces in English royal palaces, 1509-1642." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4658/.

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This thesis investigates the relationship between dramatic performance and space at English royal palaces between 1509 and 1642. I argue that palatial performance spaces, including, but not limited to, great halls, great chambers, banqueting houses, and tiltyards, created meaning in relation to one another. Underlying the history and evolution of the performance spaces I examine is the pressing notion that spaces represented different sites of meaning for spectators already accustomed to the spatial languages of palaces and great households. The venues/rooms/chambers themselves performed for inhabitants, and as court drama developed throughout this period, so did their spaces. Part one examines performance spaces in palaces understood to be the “greater” palaces of the realm and in those maintained primarily by consorts and royal children. Part two focuses primarily on how banqueting houses evolved into essential royal buildings in England. As these buildings became performance sites, court presentations of drama shifted from household-based indicators of hospitality to representations of prestige by the monarch. The final section, chapters five and six, examines how all of the architectural and dramatic frameworks discussed in the first four chapters were exemplified at Whitehall, the most important palatial venue of the period.
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Burg, Jason Ashmore. ""Remember where you are!" : the use of English cathedrals as sites of theatrical performance, 1928-2015." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7662/.

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This thesis explores the ways in which theatrical performances that take place within cathedrals are indelibly shaped by the space of the cathedral from the very beginning of the production process through to audience reception. Drawing on extensive archival research, the Records of Early English Drama, personal interviews, first hand experience as an audience member, and rehearsal observations, this work seeks to understand how these impacts are made and how best to understand the role of the cathedral in shaping such performances. Henri Lefebvre’s theory of the monument will be presented as a way in which one may look at cathedral performance, helping to explain how and why the space acts upon the production. Lefebvre’s theory also helps to situate the cathedral as a social identifier, showing how such performances can act to bring a community together, thereby further influencing the production. This thesis offers insights into how not only the tangible aspects of space affect performance (architecture, art, et cetera), but also how intangible qualities such as history, social identity, emotions, and spirituality/religion impact productions to the same, or similar, degree. Such performances leave indelible marks on the production including the shaping of texts, designs, staging, and the audience’s reception of the final piece; all of which are discussed in detail, with particular attention to case studies. The research concludes by demonstrating that one must not view the cathedral as a neutral vessel, but one that acts upon all aspects of the production of theatre, and in so doing unavoidably alters the performance in a way not possible in other spaces.
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Boguszak, Jakub. "Actors' parts in the plays of Ben Jonson." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7732f887-5a9d-4fc6-afce-9bc4242265f9.

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The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.
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Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.

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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.
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Finck, William Macy Ekelund Robert B. "English Seventeenth century colonial expansion as a form of rent-seeking." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Fall%20Dissertations/Finck_William_20.pdf.

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Burt, Elizabeth Marie. ""Such a deal of wonder" : structures of feeling and performances of The winter's tale from 1981 to 2002 /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd920.7.

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Lilly, Robert G. "Sir Henry Norris English Ambassador, Huguenot advocate /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=208.

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Betteridge, Thomas. "The unwritten verities of the past history and the English reformations /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.338251.

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Kline, Wayne M. "The English Crown's foreign debt, 1544-1557." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4366.

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As background to an investigation of the crown's foreign borrowing from 1544 though 1557. this thesis examines the general fiscal situation of the mid-Tudor Commonwealth with special emphasis on the great inflation of the 16th century, the role of Antwerp in European finance. and the relationship between war and English fiscal policy It then examines in detail the creation of the debt under Henry VIII, its development into a standard feature of state finance under Edward VI, and its liquidation under Mary. Information on England and English crown finance was drawn principally from published primary sources while information on the Antwerp market and on continental affairs in general was derived mainly from secondary sources.
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Bramhall, Eric. "Penitence and the English Reformation." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16733/.

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Change in penitential thinking and practice in England during the sixteenth century had a profound impact on both church and society. There has been no published work on penitence in England across the century. This study meets that gap examining why and how change came about; the way penitential change in England had its own peculiarities and differed from changes on the continent; and the consequences of change. The thesis has a special focus on pastoral ministry to penitents. The six main chapters consider: 1) ministry of the sacrament of penance prior to the Reformation; 2)the importance of penitence in the thinking of both conservative and evangelical humanists; 3)changes in church teaching about the sacrament during the reign of Henry VIII; 4)how the abandoning of the sacrament and obligatory auricular confession effected the role and work of clergy during the reign of Edward VI; ministry to those with 'afflicted consciences' during the Marian persecution; the politicisation of exiles; 5)the importance of the sacrament to church leaders for the restoration o the Marian church; 6)the Elizabethan church compensating for the loss of the sacrament by preaching repentance with the use of catechisms and devotional material; whether there is evidence to argue for a popular reception of the new penitential ideas. The focus on penitence brings out new insights. Henry VIII despite his antipathy to Luther and justification by faith, collaborated with Cranmer in bringing about more changes in penitential thinking and practice than has hitherto been noticed. The Edwardian Reformation was not merely destructive as some historians imply but established within the Church of England a new pattern of pastoral ministry. Attempts to restore papal Catholicism under Mary showed both the importance of penance and how church leaders had differing views of the significance of the sacrament which suggests tensions within the episcopate. Evidence also suggests resistance to return to earlier penitential practice. The Elizabethan church was not only concerned to justify the rejection of the sacrament of confession but many of its leaders were aware of the losses this involved. They looked for ways to compensate for these. Pastors developed experience in 'practical divinity' as a means of helping those with an 'afflicted conscience'. In fact the penitential changes together with the Marian persecution meant that conscience came to the fore as an issue in moral and political decisions. Consideration of the importance of repentance in metrical psalms, religious ballads, plays and broadsheets shows something of the impact penitential changes had on the culture as England moved to become a Protestant nation.
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Books on the topic "English Theater Great Britain"

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English court theatre, 1558-1642. Cambridge, U.K: Cambridge University Press, 1999.

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Disguise on the early modern English stage. Farnham, Surrey, England: Ashgate Pub. Co., 2011.

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Magic on the early English stage. New York: Cambridge University Press, 2005.

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Gentlemen of a company: English players in Central and Eastern Europe, 1590-1660. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.

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English Shakespeares: Shakespeare on the English stage in the 1990s. Cambridge, U.K: Cambridge University Press, 1997.

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Performing blackness on English stages, 1500-1800. Cambrdige, England: Cambridge University Press, 2005.

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Fitzsimmons, Linda. The Yorkshire stage, 1766-1803: A calendar of plays, together with cast lists for Tate Wilkinson's circuit of theatres (Doncaster, Hull, Leeds, Pontefract, Wakefield, and York) and the Yorkshire Company's engagements in Beverley, Halifax, Newcastle, Sheffield, and Edinburgh. Metuchen, N.J: Scarecrow Press, 1989.

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The glory of the garden: English Regional Theatre and the Arts Council 1984-2009. Newcastle upon Tyne: Cambridge Scholars, 2010.

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Ragussis, Michael. Theatrical nation: Jews and other outlandish Englishmen in Georgian Britain. Philadelphia: University of Pennsylvania Press, 2010.

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Orrell, John. The human stage: English theatre design, 1567-1640. Cambridge [England]: Cambridge University Press, 1988.

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Book chapters on the topic "English Theater Great Britain"

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Hinojosa, Lynne Walhout. "National Cultural History in Public Spaces: The Theater, the Press, the Great War." In The Renaissance, English Cultural Nationalism, and Modernism, 1860–1920, 143–78. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620995_7.

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Rubinstein, W. D. "English-Speaking Jewry as a Field of Study in Modern Jewish History." In A History of the Jews in the English-Speaking World: Great Britain, 1–35. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_1.

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Taylor, Ian. "Respectable, Rural and English: the Lobby Against the Regulation of Firearms in Great Britain." In Crime Unlimited? Questions for the 21st Century, 120–43. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-14708-3_7.

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Rubinstein, W. D. "British Jewry from the Middle Ages to Mid-Victorian Equipoise." In A History of the Jews in the English-Speaking World: Great Britain, 36–93. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_2.

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Rubinstein, W. D. "Anglo-Jewry and British Society: New Directions 1880–1914." In A History of the Jews in the English-Speaking World: Great Britain, 94–191. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_3.

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Rubinstein, W. D. "Entering an Age of Crisis: The First World War, British Jewry, and Anti-Semitism." In A History of the Jews in the English-Speaking World: Great Britain, 192–223. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_4.

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Rubinstein, W. D. "Anglo-Jewry in the Inter-War Years, 1918–39." In A History of the Jews in the English-Speaking World: Great Britain, 224–79. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_5.

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Rubinstein, W. D. "Anglo-Jewry and the Holocaust, 1933–45." In A History of the Jews in the English-Speaking World: Great Britain, 280–363. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_6.

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Rubinstein, W. D. "British Jewry since 1945." In A History of the Jews in the English-Speaking World: Great Britain, 364–427. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24334-1_7.

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"Great Britain And The Greek Monarchy." In Greece and the English. Tauris Academic Studies, 2009. http://dx.doi.org/10.5040/9780755625161.ch-001.

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Conference papers on the topic "English Theater Great Britain"

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Шамилева, Разета Дадуевна, and Амина Турпал-Алиевна Джабраилова. "PHRASEOLOGICAL UNITS AS A REFLECTION OF THE WAY OF LIFE OF THE PEOPLES OF GREAT BRITAIN." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2020). Crossref, 2020. http://dx.doi.org/10.37539/seh290.2020.32.91.003.

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Пословицы и поговорки являются неотъемлемой частью любого живого языка. В статье изучены вопросы отражения быта народов Великобритании через английские поговорки и пословицы. В статье нами разобраны источники, причины возникновения английских пословиц и поговорок. Proverbs and sayings are an integral part of any living language. The article examines the issues of reflecting the life of the peoples of Great Britain through English sayings and proverbs. We have analyzed the sources and causes of English proverbs and sayings in this article.
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Salibová, Kristina. "Brexit and Private International Law." In COFOLA INTERNATIONAL 2020. Brexit and its Consequences. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9801-2020-4.

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My contribution deals with the issue concerning the question arising on the applicable law in and after the transition period set in the Agreement on the withdrawal of the United Kingdom of Great Britain and Northern Ireland from the European Union and the European Atomic Energy Community. The aim of this contribution is to analyze how the English and European laws simultaneously influence one another. This analyzation will lead to the prognosis of the impact Brexit will have on the applicable English law before English courts and the courts of the states of the European Union. The main key question is the role of lex fori in English law. Will English law tend to return to common law rules post-Brexit, and prefer the lex fori?
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Imbert, Clément, and Reynold John. "TRANSITION FROM MASTER CRAFTSMAN TO ENGINEERING DEGREE." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/aook6981.

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There is a great need for Master-Craftsmen who are highly valued in industry locally but are not afforded the same recognition as in Germany, so in order to encourage more applicants a bridging progression to a Bachelor’s degree should be devised. There are several paths to the education of engineers. Traditionally students of engineering attend secondary school from which they matriculate to a tertiary institution. In many countries candidates may opt to do an Associate degree articulating to a Bachelor’s degree. However, in some countries, it is possible to become an engineer without a traditional degree, usually in a more practically-oriented apprenticeship programme. In Britain for example, such candidates complete National Vocational Qualifications(NVQs) in engineering while working at a company. NVQs typically range from Level 1 to Level 8, Levels 6 and 7 being equivalent to Bachelor’s and taught Master’s degrees respectively. In Germany, there is also an alternative qualification to the Bachelor’s degree, the more practically-oriented Meister (Master-Craftsman in English), both of which are equally recognized and respected professionally and are both pegged at Level 6 in the 8-Level German National Qualifications Framework (NQF). The MIC Institute of Technology has adopted a Master-Craftsman programme which is accredited by the German Chamber of Crafts and Trades. Candidates have to first complete the (trimester) Journeyman programme comprising three years, about 50% of which comprise industrial attachments/internships. Successful Journeyman graduates can progress to the Master-Craftsman qualification by completing an extra (trimester) year of study. This paper deals with the progression of Master-Craftsman graduates, through advanced placement, in a Bachelor of Technology programme. The Master-Craftsman curricula have to be mapped against a typical Bachelor of Technology programme to determine the gaps in mathematical, theoretical and other areas and mechanisms to fill any gaps.
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Reports on the topic "English Theater Great Britain"

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Zhytaryuk, Maryan. UKRAINIAN JOURNALISM IN GREAT BRITAIN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11115.

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Professor M. Zhytaryuk’s review is about a book scientific novelty – a monograph by Professor M. Tymoshyk «Ukrainian journalism in the diaspora: Great Britain. Monograph. K.: Our culture and science, 2020. 500 p. – il., Them. pok., resume English, German, Polish.». Well-known scientist and journalism critic, Professor M. S. Tymoshyk, wrote a thorough work, which, in terms of content, is a combination of a monograph, a textbook and a scientific essay. This book can be useful for both students and practicing journalists or anyone interested in the history of the Ukrainian diaspora, Ukrainian journalism and Ukrainian culture. The author dedicated his work to Stepan Yarmus from Winnipeg, Canada – archpriest, journalist, editor, professor. As the epigraph to the book were taken the words of Ivan Bagryany: «Our press, born under the sword of Damocles of repatriation», not only survived and survived to this day, but also showed a brilliant ability to grow and develop. It was shown that beggars that had come to the West without money at heart can and know how to act so organized. It was also an example of how a modern «enbolshevist» and «denationalized» by the occupier man person is capable of a combined mass action».
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