Book chapters by Jamie Andrews
A Companion to Creative Writing, ed. by Graeme Harper, 2013
John Berger, ed. by Maria Nadotti, 2012
"Critico dell’arte, poeta, giornalista, romanziere, sceneggiatore cinematografico, autore teatral... more "Critico dell’arte, poeta, giornalista, romanziere, sceneggiatore cinematografico, autore teatrale e disegnatore o – come lui stesso preferisce definirsi – semplice storyteller, John Berger (Londra, 1926) è forse lo scrittore vivente più amato e seguito da scrittori, artisti, filmmaker, fotografi, uomini e donne di teatro di tutto il mondo.
Arundhati Roy lo descrive come un “guaritore”, capace di “curare gli scrittori feriti”.
Colum McCann dichiara: “Se dovessi prendere con me un solo scrittore, sceglierei lui. Semplicemente perché porterebbe con sé anche tutti gli altri”. Geoff Dyer afferma: “Chiunque lo abbia visto in azione avrà osservato la sua inesauribile capacità di dare”. Iona Heath scrive: “Quello di John Berger è il primo nome al quale confesserei pubblicamente il mio attaccamento”. E Isabel Coixet: “Non c’è niente che lo rappresenti totalmente. E tutto lo rappresenta. Non l’ho mai visto tagliare la legna, ma sono sicura che ogni colpo d’ascia contiene in sé tutto quel che dobbiamo sapere sul mondo, tutto quel che è necessario sapere”.
Il suo segreto? Talento e mestiere, certo, ma anche un’incredibile umanità e un’insuperabile capacità d’attenzione.
Testi e disegni editi e inediti di John Berger, Anne Michaels, Arundhati Roy, Caterina Serra, Colum McCann, Davide Ferrario, Elena Poniatowska, Emmanuel Favre, Geoff Dyer, Gianluigi Colin, Giuseppe Mascoli, Iona Heath, Isabel Coixet, Italo Chiodi, Ivan Maffezzini, Jamie Andrews, Jean Mohr, Jean-Michel Sivry, John Christie, Katya Berger, Marco Belpoliti, Maria Nadotti, Marisa Bulgheroni, Michael Ondaatje, Norman Gobetti, Ramón Vera Herrera, Rema Hammami, Remo Ceserani, Riccardo Panattoni, Richard Appignanesi, Salman Rushdie, Selçuk Demirel, Tania Tamari Nasir, Tom Overton, Tom Penn, Véronique Dassas, Yves Berger."
The 1960s: Modern British Playwrighting: Voices, Documents, New Interpretations, ed. by Steve Nicholson, 2012
Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting ... more Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period .
The 1960s was a decade of seismic changes in British theatre as in society at large. This important new study in Methuen Drama's Decades of Modern British Playwriting series explores how theatre-makers responded to the changes in society. Together with a thorough survey of the theatrical activity of the decade it offers detailed reassessments of the work of four of the leading playwrights.
The 1960s volume provides in-depth studies of the work of four of the major playwrights who came to prominence: Edward Bond (by Steve Nicholson), John Arden (Bill McDonnell), Harold Pinter (Jamie Andrews) and Alan Ayckbourn (Frances Babbage). It examines their work then, its legacy today, and how critical consensus has changed over time.
Cold War Literatures: Western, Eastern and Postcolonial Perspectives, ed. by Andrew Hammond, 2011
The collection of essays offers a unique study of the ways in which writers addressed the militar... more The collection of essays offers a unique study of the ways in which writers addressed the military conflicts, revolutions, propaganda wars and ideological debates of the Cold War. While including essays on Western European and North American literatures, the volume views First World writing not as central to the period, but as part of an international discussion of Cold War realities in which the most interesting contributions often came from marginal or subordinate cultures. To this end, there is an emphasis on the literatures of the Second and Third Worlds, including essays on Latin American poetry, Soviet travel writing, Chinese autobiography, African theatre, Eastern European fiction and Middle Eastern fiction and poetry. The volume's analysis of the political and cultural forces that shaped the modern world is particularly evident in its study of the Cold War 'hot spots' - Afghanistan, Iran, North Korea - that have also defined the contemporary 'war on terror'.
Capturing the Essence of Performance, ed. by Leclercq, Rossion, and Jones, 2010
The challenge of intangible heritage is to capture the essence of performance: the idea of captur... more The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.
Talking Drama, ed. by Judith Roof, 2009
The traditional narrative of Harold Pinter's early critical reception in England—recycled in both... more The traditional narrative of Harold Pinter's early critical reception in England—recycled in both academic and popular discourse, and indeed recounted with glee by the playwright himself— has revolved around the "total disaster" of The Birthday Party, subsequently redeemed by the triumph of The Caretaker. In this essay, I want to look to the reception of Pinter's stage-work in Paris, where an alternative production chronology disrupts, or at least makes visible, this apparently innate narrative of "failure" (of The Birthday Party) and "success" (of The Caretaker). In particular, I will interrogate the role of the French critics in mediating and rationalizing the reception of Pinter's plays, and the ways in which they attempted to relate the works to the socio-cultural and dramatic specificities of post-War (and post-Godot) Paris.
Authors at Work: The Creative Environment, ed. by Graeme Harper, 2009
"Writers often meditate on what physical situations they need to do the work in hand. A room of t... more "Writers often meditate on what physical situations they need to do the work in hand. A room of their own, bills, bed, procrastination, regular meals, Benzedrine and beer, office routines, walking and riding, even prison, can be machines that make them write. Trollope got 2,000 words done every morning, watch on the table. Clare composed en pleine air, jotting on his hat rim. Wesley's hymns came to him on horseback. The Bronte sisters paced round a drawing-room table. Donne was dismally prompted to write by nappies. Johnson needed the printer's devil knocking at his door.
On a grand scale, city planners try to entice the creative classes into a creative area: while at a local level, readers have a magical sense that putting themselves into the bodily position of a writer may allow them to join in her planning and plotting.
The essays in this volume examine the working habits of seven great authors, from 1600 to today: Jonson, Milton, the Bronte sisters, Trollope, Oliphant, and Auden. There are also interviews on the creative environment with the Poet Laureate of Great Britain, the British Library's Head of Modern Literary Manuscripts, the Director of the Hay Festival, research fellows at Stratford and the Globe, and a poet-web-blogger."
Journal articles by Jamie Andrews
Electronic British Library Journal, Mar 2010
While recent years have seen increasing critical engagement with British theatre in the years pre... more While recent years have seen increasing critical engagement with British theatre in the years preceding John Osborne's Look Back in Anger, few writers have concentrated on the theatre of Osborne himself before 1956. However, the emergence in the British Library's collections in 2009 of two play-scripts written by Osborne and (briefly) staged before 1956, as well as the deposit of previously unseen letters in the Osborne Archive in Texas, now allow for a fuller consideration of Osborne's long apprenticeship in the theatre, and of the seven plays written before his 'overnight' breakthrough with Look Back in Anger in May 1956.
Journal of the History of Collecting, 2008
This article looks at the policies of, and politics surrounding, the collecting of the literary m... more This article looks at the policies of, and politics surrounding, the collecting of the literary manuscripts and archives of living and contemporary British writers. The changing institutional attitudes towards the idea of such a collection are charted – from the indifference of the early-twentieth century, to today's seemingly frenzied collecting – and consideration is also given to legislative solutions now being proposed to encourage writers to deposit their papers within the UK. The post-war efforts of figures such as Philip Larkin are crucial to an understanding of evolving attitudes in Britain towards collecting this material, and recently opened files from the Arts Council archives afford an understanding of the steps taken by Larkin and British Museum curators to build, and to define collecting criteria for, their unprecedented (in Britain) new collection.
"This article relates to the theatrical adaptation of
André Malraux’s novel La Condition humaine... more "This article relates to the theatrical adaptation of
André Malraux’s novel La Condition humaine by
Thierry Maulnier. Although now largely forgotten,
this 1954 adaptation generated intense interest at the
time, both in the apparent paradox in Maulnier—
scourge of left-wing intellectuals—adapting
Malraux’s novel, and in the imaginative artistic
means employed in bringing such a densely complex
work to the stage. The article also examines
Malraux’s own participation in the adaptation, an
opportunity that provided him with a chance to
rewrite sections of his own novel twenty years later."
Edited books by Jamie Andrews
The first performance of Look Back in Anger in 1956 ushered in a new period of British theatre, a... more The first performance of Look Back in Anger in 1956 ushered in a new period of British theatre, and its success established the previously unknown John Osborne as a new playwright of the first rank. Contrary to popular perception, Look Back was not Osborne's first play to be performed, and two of his early plays had already enjoyed professional productions. Copies of the scripts, thought to have been lost, were rediscovered in the British Library in 2008, and are presented for the first time here.
The Devil Inside Him (1950) was the 21 year-old Osborne's earliest attempt at a full-length play, and concerns a young Welshman, Huw, at odds with the hypocrisy and imaginative poverty of his community. It was re-written with help from Osborne's then-lover, Stella Linden.
Personal Enemy (1955) was written with Anthony Creighton with whom Osborne later collaborated with on Epitaph for George Dillon. Set in small-town America during summer of 1953 - at the height of the anti-communist witch-hunts - the play tells the story of a family torn apart by a country's political, and sexual, paranoia.
Books by Jamie Andrews
The British Library is home to an unparalleled collection of original manuscripts of great Englis... more The British Library is home to an unparalleled collection of original manuscripts of great English literature, from the tenth-century manuscript of Beowulf to the work of such twentieth-century authors as T. S. Eliot, Ted Hughes, and Angela Carter. With 1000 Years of English Literature, Chris Fletcher shares some of the gems from the collection. Originally published in 2003, this updated and expanded paperback edition chronicles the life and work of more than one hundred of the best-loved British writers, with greater attention paid to the writers of the twentieth century. Each spread begins with an engaging sketch of the life and significance of the author, then offers a reproduced portion of manuscript on the facing page. Among the writers included are Shakespeare, Dickens, Wordsworth, and Larkin, and the volume also presents such masterpieces as Chaucer's Canterbury Tales, Charlotte Bronte's Jane Eyre, and Virginia Woolf's Mrs. Dalloway. Whether written on parchment, vellum, or paper, and whether poems, short stories, novels, or diaries, these documents offer fascinating insights into the world of the writer at work and at times reveal major amendments and corrections carried out during the course of writing. An inspiring vision of literary achievement, 1000 Years of English Literature will not only teach and delight but also enrich the pleasure of reading and rereading the best literature Britain has to offer.
Treasures in Focus is a series of pocket guides to some of the British Library's greatest treasur... more Treasures in Focus is a series of pocket guides to some of the British Library's greatest treasures.
This small notebook was used by Blake for over thirty years to record sketches and drafts of his poems. The dense, closely packed pages provide an insight into Blake's compositional process, and allow us to follow the genesis of some of his best-known work including poems such as The Tyger and London.
Encylopedia articles by Jamie Andrews
The Columbia Encyclopaedia of Modern Drama, 2007
wholly unique A to Z reference for modern drama, this A authoritative encyclopedia differs from o... more wholly unique A to Z reference for modern drama, this A authoritative encyclopedia differs from others in highlighting the interdisciplinary nature of drama by placing playwrights and plays within their social, cultural, and historical contexts. Over 450 leading scholars provide students, general readers, and scholars with clearly written and concise entries that steer clear of technical jargon while also offering advanced readers new perspectives on familiar figures, movements, trends, issues, and texts. The Encyclopedia concentrates on drama in the literary sense rather than as performance.
The Literary Encylopedia , 2005
The Literary Encyclopedia is an all-new reference work written by university teachers around the ... more The Literary Encyclopedia is an all-new reference work written by university teachers around the world. It is also a unique digital environment designed to integrate current knowledge of literature and culture and facilitate understanding of historical contexts and connections.
Other articles by Jamie Andrews
Times Literary Supplement, Mar 13, 2009
Papers by Jamie Andrews
Archives: The Journal of the British Records Association, 2010
Uploads
Book chapters by Jamie Andrews
Arundhati Roy lo descrive come un “guaritore”, capace di “curare gli scrittori feriti”.
Colum McCann dichiara: “Se dovessi prendere con me un solo scrittore, sceglierei lui. Semplicemente perché porterebbe con sé anche tutti gli altri”. Geoff Dyer afferma: “Chiunque lo abbia visto in azione avrà osservato la sua inesauribile capacità di dare”. Iona Heath scrive: “Quello di John Berger è il primo nome al quale confesserei pubblicamente il mio attaccamento”. E Isabel Coixet: “Non c’è niente che lo rappresenti totalmente. E tutto lo rappresenta. Non l’ho mai visto tagliare la legna, ma sono sicura che ogni colpo d’ascia contiene in sé tutto quel che dobbiamo sapere sul mondo, tutto quel che è necessario sapere”.
Il suo segreto? Talento e mestiere, certo, ma anche un’incredibile umanità e un’insuperabile capacità d’attenzione.
Testi e disegni editi e inediti di John Berger, Anne Michaels, Arundhati Roy, Caterina Serra, Colum McCann, Davide Ferrario, Elena Poniatowska, Emmanuel Favre, Geoff Dyer, Gianluigi Colin, Giuseppe Mascoli, Iona Heath, Isabel Coixet, Italo Chiodi, Ivan Maffezzini, Jamie Andrews, Jean Mohr, Jean-Michel Sivry, John Christie, Katya Berger, Marco Belpoliti, Maria Nadotti, Marisa Bulgheroni, Michael Ondaatje, Norman Gobetti, Ramón Vera Herrera, Rema Hammami, Remo Ceserani, Riccardo Panattoni, Richard Appignanesi, Salman Rushdie, Selçuk Demirel, Tania Tamari Nasir, Tom Overton, Tom Penn, Véronique Dassas, Yves Berger."
The 1960s was a decade of seismic changes in British theatre as in society at large. This important new study in Methuen Drama's Decades of Modern British Playwriting series explores how theatre-makers responded to the changes in society. Together with a thorough survey of the theatrical activity of the decade it offers detailed reassessments of the work of four of the leading playwrights.
The 1960s volume provides in-depth studies of the work of four of the major playwrights who came to prominence: Edward Bond (by Steve Nicholson), John Arden (Bill McDonnell), Harold Pinter (Jamie Andrews) and Alan Ayckbourn (Frances Babbage). It examines their work then, its legacy today, and how critical consensus has changed over time.
On a grand scale, city planners try to entice the creative classes into a creative area: while at a local level, readers have a magical sense that putting themselves into the bodily position of a writer may allow them to join in her planning and plotting.
The essays in this volume examine the working habits of seven great authors, from 1600 to today: Jonson, Milton, the Bronte sisters, Trollope, Oliphant, and Auden. There are also interviews on the creative environment with the Poet Laureate of Great Britain, the British Library's Head of Modern Literary Manuscripts, the Director of the Hay Festival, research fellows at Stratford and the Globe, and a poet-web-blogger."
Journal articles by Jamie Andrews
André Malraux’s novel La Condition humaine by
Thierry Maulnier. Although now largely forgotten,
this 1954 adaptation generated intense interest at the
time, both in the apparent paradox in Maulnier—
scourge of left-wing intellectuals—adapting
Malraux’s novel, and in the imaginative artistic
means employed in bringing such a densely complex
work to the stage. The article also examines
Malraux’s own participation in the adaptation, an
opportunity that provided him with a chance to
rewrite sections of his own novel twenty years later."
Edited books by Jamie Andrews
The Devil Inside Him (1950) was the 21 year-old Osborne's earliest attempt at a full-length play, and concerns a young Welshman, Huw, at odds with the hypocrisy and imaginative poverty of his community. It was re-written with help from Osborne's then-lover, Stella Linden.
Personal Enemy (1955) was written with Anthony Creighton with whom Osborne later collaborated with on Epitaph for George Dillon. Set in small-town America during summer of 1953 - at the height of the anti-communist witch-hunts - the play tells the story of a family torn apart by a country's political, and sexual, paranoia.
Books by Jamie Andrews
This small notebook was used by Blake for over thirty years to record sketches and drafts of his poems. The dense, closely packed pages provide an insight into Blake's compositional process, and allow us to follow the genesis of some of his best-known work including poems such as The Tyger and London.
Encylopedia articles by Jamie Andrews
Other articles by Jamie Andrews
Papers by Jamie Andrews
Arundhati Roy lo descrive come un “guaritore”, capace di “curare gli scrittori feriti”.
Colum McCann dichiara: “Se dovessi prendere con me un solo scrittore, sceglierei lui. Semplicemente perché porterebbe con sé anche tutti gli altri”. Geoff Dyer afferma: “Chiunque lo abbia visto in azione avrà osservato la sua inesauribile capacità di dare”. Iona Heath scrive: “Quello di John Berger è il primo nome al quale confesserei pubblicamente il mio attaccamento”. E Isabel Coixet: “Non c’è niente che lo rappresenti totalmente. E tutto lo rappresenta. Non l’ho mai visto tagliare la legna, ma sono sicura che ogni colpo d’ascia contiene in sé tutto quel che dobbiamo sapere sul mondo, tutto quel che è necessario sapere”.
Il suo segreto? Talento e mestiere, certo, ma anche un’incredibile umanità e un’insuperabile capacità d’attenzione.
Testi e disegni editi e inediti di John Berger, Anne Michaels, Arundhati Roy, Caterina Serra, Colum McCann, Davide Ferrario, Elena Poniatowska, Emmanuel Favre, Geoff Dyer, Gianluigi Colin, Giuseppe Mascoli, Iona Heath, Isabel Coixet, Italo Chiodi, Ivan Maffezzini, Jamie Andrews, Jean Mohr, Jean-Michel Sivry, John Christie, Katya Berger, Marco Belpoliti, Maria Nadotti, Marisa Bulgheroni, Michael Ondaatje, Norman Gobetti, Ramón Vera Herrera, Rema Hammami, Remo Ceserani, Riccardo Panattoni, Richard Appignanesi, Salman Rushdie, Selçuk Demirel, Tania Tamari Nasir, Tom Overton, Tom Penn, Véronique Dassas, Yves Berger."
The 1960s was a decade of seismic changes in British theatre as in society at large. This important new study in Methuen Drama's Decades of Modern British Playwriting series explores how theatre-makers responded to the changes in society. Together with a thorough survey of the theatrical activity of the decade it offers detailed reassessments of the work of four of the leading playwrights.
The 1960s volume provides in-depth studies of the work of four of the major playwrights who came to prominence: Edward Bond (by Steve Nicholson), John Arden (Bill McDonnell), Harold Pinter (Jamie Andrews) and Alan Ayckbourn (Frances Babbage). It examines their work then, its legacy today, and how critical consensus has changed over time.
On a grand scale, city planners try to entice the creative classes into a creative area: while at a local level, readers have a magical sense that putting themselves into the bodily position of a writer may allow them to join in her planning and plotting.
The essays in this volume examine the working habits of seven great authors, from 1600 to today: Jonson, Milton, the Bronte sisters, Trollope, Oliphant, and Auden. There are also interviews on the creative environment with the Poet Laureate of Great Britain, the British Library's Head of Modern Literary Manuscripts, the Director of the Hay Festival, research fellows at Stratford and the Globe, and a poet-web-blogger."
André Malraux’s novel La Condition humaine by
Thierry Maulnier. Although now largely forgotten,
this 1954 adaptation generated intense interest at the
time, both in the apparent paradox in Maulnier—
scourge of left-wing intellectuals—adapting
Malraux’s novel, and in the imaginative artistic
means employed in bringing such a densely complex
work to the stage. The article also examines
Malraux’s own participation in the adaptation, an
opportunity that provided him with a chance to
rewrite sections of his own novel twenty years later."
The Devil Inside Him (1950) was the 21 year-old Osborne's earliest attempt at a full-length play, and concerns a young Welshman, Huw, at odds with the hypocrisy and imaginative poverty of his community. It was re-written with help from Osborne's then-lover, Stella Linden.
Personal Enemy (1955) was written with Anthony Creighton with whom Osborne later collaborated with on Epitaph for George Dillon. Set in small-town America during summer of 1953 - at the height of the anti-communist witch-hunts - the play tells the story of a family torn apart by a country's political, and sexual, paranoia.
This small notebook was used by Blake for over thirty years to record sketches and drafts of his poems. The dense, closely packed pages provide an insight into Blake's compositional process, and allow us to follow the genesis of some of his best-known work including poems such as The Tyger and London.