Explore the vast range of titles available.

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.

This essay presents a study of the economic and theatrical life of two iconic theatre productions from British theatre in the 1980s: the Royal Shakespeare Company/Cameron Mackintosh production of Les Misérables (1985), and Jim Cartwright's Road at the Royal Court (1986). These two productions were selected with the aim of exploring theatre's relationship to poverty in a neoliberal economy. Both productions successfully transformed their respective representations of the poor, and the impoverishments introduced by neoliberal economic policy in the theatre during this period, into enduring forms of monetary and aesthetic value. The production of Les Misérables was the outcome of a public/private partnership that exploited new opportunities for financial speculation emerging at this time. Road's production was supported by recourse to what the then Royal Court director, Max Stafford Clarke, presented as a pauperized mode of entrepreneurship, developed to adapt to new, economically precarious conditions for subsidized theatre. The essay traces similarities between the economics and aesthetics of the two productions, and draws on these to provide perspectives on theatre's relationship to the poor. Specifically, it argues that theatre forms productive coalitions with neoliberal economies, which work both onstage and off to transform the \"human waste\" of impoverishment into gold.

This year already offers two notable examples - the newly refurbished Royal Court Theatre in Sloane Square and Jean Nouvel's Musee de la Publicite in the Louvre, of which portions of both look as if the builders downed tools halfway due to a lack of funds. Both take an archaeological view of the buildings' historical fabric - stripping back the recent layers of decoration to expose a collage of earlier works. At the Louvre scraps of Napoleonic wallpaper butt up against redundant ironmongery and crumbling plaster. At the Royal Court severed gas pipes and raw brickwork indicate the site of George Devine's old office, now just an old scar in a new space. And the overall effect in both is not one of newness, but of carefully contained and ordered antiquity. Both are scrap books assembled from authentic scrap, each fragment recalling a detail from the building's memory.

Feb. 21--Housing Smarts asked real estate broker and author George Devine about the benefits and demands of a for-sale-by-owner transaction. ANSWER: Housing Smarts asked real estate broker George Devine, a business professor at the University of San Francisco and author of Nolo press' \"For Sale by Owner in California.\" If your transaction doesn't involve complications or controversies requiring extensive legal help (probate, bankruptcy, divorce, etc.) you should be able to sell your own house providing you can follow a detailed series of step-by-step instruction.

Jade Thomas George Devine, 20, of Bridgewater was found guilty of driving his car into the man at Goodwood, north of Hobart last August.

Irish writer Stuart Carolan won the George Devine award for this tale of a fractured family living on the faultline of the border in County Armagh in 1986, when the Troubles were at their height.

Daryll Nixon and Adrain Doherty frind space at a premium in the inflatable obstacle course during the festival fun day at Ballymagroarty

Prosecution lawyer Russell Connell told her the bus had stopped on the Springfield Road in Belfast to let passengers off when [George Arthur Devine] stepped forward and put an oil container with wire sticking out of the top beside the driver's cab, ordering him: \"You ... town. Now!\" Devine, from Whitecliff Drive in Belfast, was arrested and interviewed but even after the driver had picked him out at an identification parade, he maintained that he had nothing to do with it. However, at arraignment he pleaded guilty to the single charge of placing a hoax bomb.