Hafan Llyfrau Basged Man Talu Fy Nghyfrif Cymorth Cynigion Arbennig Cysylltu   English  
 
Dod o Hyd i Siop Lyfrau
 
Mewngofnodi
 
Cofrestru
Gwybodaeth Lyfryddol
Communication Breakdowns - Theatre, Performance, Rock Music and Some Other Welsh Assemblies
Ruth Shade
ISBN: 9780708317617 (0708317618)Dyddiad Cyhoeddi Chwefror 2004
Cyhoeddwr: Gwasg Prifysgol Cymru / University of Wales Press, Caerdydd
Fformat: Clawr Meddal, 216x138 mm, 216 tudalen Iaith: Saesneg Allan o Stoc - Archebir yn l y galw Pris Llawn: £16.99 
Ein Pris: £9.99 
Rydych yn Arbed: £7.00 (41.2%) 
Does dim Adolygiad Cwsmer i'r teitl hwn.
 
Ysgrifennwch Adolygiad Cwsmer
Astudiaeth o weithgareddau theatrig cyfoes cyfrwng-Saesneg yng nghymoedd De Cymru, y berthynas rhwng gwleidyddiaeth, dosbarth a pherfformio, dirgelwch theatr gymuned a dadl o blaid i'r theatr yng Nghymru edrych tuag at i mewn, i fod yn blwyfol ac yn boblyddol. 15 ffotograff du-a-gwyn.

A study of contemporary English-medium theatrical activities in the south Wales valleys, the relationship between politics, class and performance, the mystery of community theatre and an argument for the theatre in Wales to become inward-looking, parochial and populist. 15 black-and-white photographs.
This study of theatre in Wales (in the English language) explores the policies, intentions and effects of the various funding bodies since WWI on the development of structures and indigenous traditions. It focuses particularly on the last two decades, the (lack of) impact of devolution and the experience of Aberdare as a largely working-class community whose performance traditions did not fit with the prevailing ethos. It is well researched, very up-to-date and very challenging, especially to anyone who has been involved in the Arts Council processes.

Ruth Shade sees in the history of Arts Council activity the continuous, unquestioned application of a set of values which, she feels, have never really been validated in Welsh culture. She demonstrates the continuity of influence and assumptions which have been carried through from the CEMA, the ACGB to the ACW, despite devolution and numerous reviews, 'consultations' and re-structuring.

She feels that the working class audiences and their traditional art and drama forms and practice have been ignored and selected against by the Arts Council – even when it was trying to support drama in those areas. She makes a case for Welsh theatre becoming more 'parochial' and populist in order to reconnect with its audience which, she feels, has been disenfranchised by the structures of control.

While recognising the use of her image of the panopticon in the Arts Council's mechanisms, I think she does not really allow for the requirements placed on any body which distributes public money. I also think that some of the effects she attributes to the alienated system are not class-specific but general across a period when people have become both more home-based and time-poor. She could have given more consideration to the effects (and limitations) of the Arts Lottery grants schemes. These did introduce a radically different way of valuing activities and were compelled to be applicant-led. However, they were still subject to some of the same external pressures, especially the ‘Flagship' problem.

Her examination of the problematic category of 'community drama' is interesting and she does make good points about the assumptions on value made by some Arts Council staff and critics. However, she does not acknowledge the positive examples such as (lottery funded) community generated plays and the growth of politicised work based on Boal's practice; nor does she refer to the Drama Association's efforts to support locally generated playwriting and productions.

This study has an avowedly partisan agenda and its own assumptions about Welsh culture are not, perhaps, as true of rural areas as of the urban south. Nevertheless, it is an important challenge to many assumptions about how and why things are done in the arts and it should be widely read and considered.

Caroline Clark

It is possible to use this review for promotional purposes, but the following acknowledgement should be included: A review from www.gwales.com, with the permission of the Welsh Books Council.

Gellir defnyddio’r adolygiad hwn at bwrpas hybu, ond gofynnir i chi gynnwys y gydnabyddiaeth ganlynol: Adolygiad oddi ar www.gwales.com, trwy ganiatad Cyngor Llyfrau Cymru.
Does dim Adolygiad Cwsmer, hyd yma, i'r llyfr hwn.
 
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