Jenny Hughes

Theatre in Towns offers a contemporary perspective on the role of theatre in the cultural life of towns in England. Exploring volunteer-led, professional and community theatres, this book investigates the rich and diverse ways that theatres in towns serve their locality, negotiate their civic role, participate in networks of mutual aid and exchange, and connect audiences beyond their geographical borders. With a geographical focus on post-industrial, seaside, commuter and market towns in England, the book opens questions about how theatre shapes the narratives of town life, and how localism, networks and partnerships across and between towns contribute to living sustainably. Each chapter is critically and historically informed, drawing on original research in towns, including visits to performances and many conversations with townspeople, from theatre-makers, performers, set-builders, front-of-house volunteers, to audience members and civic leaders. Theatre in Towns asks urgent questions about how the relationships between towns and theatres can be redefined in new and equitable ways in the future.Theatre in Towns brings new research to scholars and students of theatre studies, cultural geography, cultural and social policy and political sociology. It will also interest artists, policy-makers and researchers wanting to develop their own and others’ understanding of the value of active theatre cultures in towns.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Theatre in Towns offers a contemporary perspective on the role of theatre in the cultural life of towns in England. Exploring volunteer-led, professional and community theatres, this book investigates the rich and diverse ways that theatres in towns serve their locality, negotiate their civic role, participate in networks of mutual aid and exchange, and connect audiences beyond their geographical borders. With a geographical focus on post-industrial, seaside, commuter and market towns in England, the book opens questions about how theatre shapes the narratives of town life, and how localism, networks and partnerships across and between towns contribute to living sustainably. Each chapter is critically and historically informed, drawing on original research in towns, including visits to performances and many conversations with townspeople, from theatre-makers, performers, set-builders, front-of-house volunteers, to audience members and civic leaders. Theatre in Towns asks urgent questions about how the relationships between towns and theatres can be redefined in new and equitable ways in the future.Theatre in Towns brings new research to scholars and students of theatre studies, cultural geography, cultural and social policy and political sociology. It will also interest artists, policy-makers and researchers wanting to develop their own and others’ understanding of the value of active theatre cultures in towns.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Book Three in the Garland House Trilogy Preceded by Horse in the Mirror and Horse in the Portrait "Thrilling stories with plenty of horses plus a measure of mystery and suspense." --Horse and Pony Magazine Ellie and her horse Aslan have an unexpected stay at Garland House but this time, although the horses and riding are still great, things have changed. Jonah is elusive and cold, the former connection between him and Ellie has disappeared, and she feels confused and lonely. There's another girl on the scene who's taking all Jonah's attention but when she leaves, the situation, instead of improving, gets far worse. Jonah seems like he has lost his mind. A crime has been committed but just who is the culprit? Everything points to Jonah, who clams up even more and refuses to defend himself. Even his brother Ricky thinks he's guilty. Only Ellie believes in Jonah's innocence and she and Aslan will risk everything to save him.

Fifteen-year-old Fran rescues an abused horse from a gypsy traveler and nurses him to health. She names him Charlie and realizes he is a horse of rare quality. She and her mother suspect that he was stolen, but Fran's love of Charlie grows. Then a mysterious gypsy boy appears out of nowhere and a string of tack thefts hits the area. Fran befriends the boy, Kez, who has a talent with horses. Fran and Kez must find the real thieves before Kez is convicted, all the while growing more certain that Charlie's real owners will come and take him away.

Caitlin's best friend is her pony, Jade, so when she goes on vacation, Jade goes too. At Beacon Lodge there are wonderful rides across the beach and into the sea--and there's also the owners' son, Zak. After a series of mysterious events, Caitlyn accidentally stumbles onto a smuggling ring. Her beloved Jade, whose swimming talent makes her a real sea horse, proves her love and loyalty to Caitlin in an amazing escape scene. Jenny Hughes is the author of more than a dozen YA horse novels, which have sold hundreds of thousands of copies throughout England and Europe. She lives in England.

Mystery at Black Horse Farm (which sold over one hundred thousand copies worldwide) features Yasmine and her black pony Flint. When Yasmine gets the opportunity to travel together to summer horse camp with Oliver, a boy she has a huge crush on, it seems her dreams have come true. They're getting along well and the riding is great, but trouble seems to be brewing at Black Horse Farm. When a girl with an unusual necklace gets attacked, it takes all Yasmine's intuition, bravery, and riding skill to unravel the mystery before it's too late.

Performance in a time of terror offers a thought-provoking investigation of the way performance has given shape and form to wars on terror past and present, as both a tactic of violence and a strategy of resistance.The book focuses on an array of performances created during the ‘war on terror’ of the first decade of the twenty-first century. Beginning with the spate of carefully rehearsed beheadings carried out by Islamic insurgents in Iraq in 2004, a key proposalis that the radical in performance can be most clearly identified in acts of violence that have obliterated life. Here, the reader is also taken back in time to encounter how performance was employed as part of counterinsurgency operations during the‘war on terrorism’ in Northern Ireland (1969–1998). Moving on to explore how theatre-makers and performance activists have used performance to generate habitable worlds for life in times of crisis, Hughes argues for a re-engagement with theconservative in the critical project of art-making. As part of this, original discussions of the resurgence of political theatre on London stages and the proliferation of performative anti-war activism during the war in Iraq (2003–2008), are provided. Alsodocumented are an extraordinary series of theatre productions commissioned by counterterrorism agencies following the suicide attacks in the UK in 2005.Performance in a time of terror will appeal to researchers and students of contemporary theatre and performance, especially those interested in the politics of performance. It will also be of general interest to anyone researching wars on terror andterrorism from an interdisciplinary perspective.

Performance in a time of terror offers a thought-provoking investigation of the way performance has given shape and form to wars on terror past and present, as both a tactic of violence and a strategy of resistance.The book focuses on an array of performances created during the ‘war on terror’ of the first decade of the twenty-first century. Beginning with the spate of carefully rehearsed beheadings carried out by Islamic insurgents in Iraq in 2004, a key proposal is that the radical in performance can be most clearly identified in acts of violence that have obliterated life. Here, the reader is also taken back in time to encounter how performance was employed as part of counterinsurgency operations during the ‘war on terrorism’ in Northern Ireland (1969–1998). Moving on to explore how theatre-makers and performance activists have used performance to generate habitable worlds for life in times of crisis, Hughes argues for a re-engagement with the conservative in the critical project of art-making. As part of this, original discussions of the resurgence of political theatre on London stages and the proliferation of performative anti-war activism during the war in Iraq (2003–2008), are provided. Also documented are an extraordinary series of theatre productions commissioned by counterterrorism agencies following the suicide attacks in the UK in 2005.Performance in a time of terror will appeal to researchers and students of contemporary theatre and performance, especially those interested in the politics of performance. It will also be of general interest to anyone researching wars on terror andterrorism from an interdisciplinary perspective.

From the Greeks and Shakespeare to the "Ramayana" and the "Mahabharata", war has often been a major theme of dramatic performances. However, many of the most extraordinary theater projects in recent years not only have been about war but also have originated in actual conflict zones themselves. "Performance in Place of War" is concerned with these initiatives, including theater in refugee camps, war-ravaged villages, towns under curfew, and cities under occupation. It looks at theater and performances that often occur quite literally as bombs are falling, as well as during times of ceasefire and in the aftermath of hostilities. "Performance in Place of War" draws on extensive original material and includes interviews with artists, short play extracts, and photographs from the Democratic Republic of Congo, Kosovo, Israel, Lebanon, the Sudan, and others. The authors combine critical commentary, overviews of the conflicts, and firsthand accounts in order to consider such questions as: Why in times of disruption have people turned to performance? And what aesthetic, ethical, and political choices are made in these different contexts? "Performance in Place of War" is a fascinating perspective on the role of theater in unpredictable, war-torn times.

The Companion Guide to St Petersburg was first published in spring 2003 to coincide with the tercentenary of the founding of the city. Most visitors to St Petersburg have heard at least four facts about it: that it is 'the Venice of the North'; that a vast number of workmen, perhaps a hundred thousand, died in the early years of its construction; that it was built on uninhabited marshes; and that it was founded on territory which did not andnever had belonged to Russia. These 'facts' have one feature in common: none of them is true. Few people can say this with more authority that Kyril Zinovieff, who comes from a family associated with the administration of St Petersburg since the eighteenth century. He recalls being taken as a child in 1917 to see the damage done to the Winter Palace - which he found regettably unspectacular. And more: 'My sister and I may have been two of the last people still alive to have seen Rasputin' is the startling beginning of another chapter. His knowledge of the history of his city, where every stone tells a story, is encyclopaedic; his respect for the spiritual strength of its inhabitants unbounded; he has produced a work of charm, humour and erudition with a unique insight into this amazing city. KYRIL ZINOVIEFF, as Kyril Fitzlyon, has made noted translations from the Russian, including the Diary of Vaslav Nijinsky; this book has been written with JENNY HUGHES, formerly of the Economist and the Guardian.