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	The British Theatre Guide: A Tribute to Joan Littlewood
		Joan believed in a theatre for the people, and not the wishy-washy 19th century liberal humanist tradition, in which the working classes are conjoined to appreciate art for their own amelioration, something Joan found patronising, a denial of genuine working class values, and an obfuscation of the system of oppression.
		Joan allowed her actors, trained to be flexible and mentally acute, to improvise in performance itself.
		Joan was taken to court twice and fined for allowing her actors to diverge from the approved script in performance.
	www.britishtheatreguide.info /articles/littlewood.htm (2156 words)

	Joan Littlewood - Wikipedia, the free encyclopedia
		Joan Maud Littlewood (6 October 1914 - 20 September 2002) was a theatrical director, famous for her work in developing the left-wing Theatre Workshop.
		One of Littlewood's most famous productions was the British première of Bertolt Brecht's Mother Courage and Her Children (1955), which she directed and in which she also played the lead.
		Joan's Book: Joan Littlewood's Peculiar History As She Tells It Agit-Prop to Theatre Workshop, Political Playscripts, 1930-1950, edited by Howard Goorney and Ewan MacColl.
	en.wikipedia.org /wiki/Joan_Littlewood (327 words)

	Britain: Obituary - Joan Littlewood. British theatre's radical innovator
		Littlewood was born in Stockwell, London in 1914, the 'illegitimate' daughter of a servant girl.
		Littlewood and other company staff slept and lived in the theatre while they worked to restore the ramshackle backstage area and the horseshoe shaped auditorium to the beauty of their heyday.
		Littlewood commented: "It [the Delaney play] didn't have any shape, and no real ending, yet there was this thing that I loved, this touch of truth that you didn't really hear in the theatre – ordinary working class stuff, nothing pretentious".
	www.socialistworld.net /eng/2002/09/26obit.html (1599 words)

	She changed the face of British theatre - smh.com.au
		Joan Littlewood, who has died aged 87, devoted her prodigious life in the theatre to a faith she had kept since her Cockney youth.
		Littlewood and McColl were fllisted by the BBC and by the forces entertainment group ENSA as subversives.
		Littlewood's relationship with McColl was over and Raffles, handsome and nine years younger, had to her amazement fallen wholeheartedly in love with her; their bond was to last more than 30 years.
	www.smh.com.au /articles/2002/09/26/1032734274822.html (1475 words)

	The Kingdom - 2002/10/17: Peace must prevail at all costs
		Joan Littlewood was born in London to an unmarried servant girl of 16.
		To Littlewood s delight and amazement, he fell madly in love with her a bond that was to last until his death 30 years later.
		Joan Littlewood had certainly brightened this passing parade with her pioneering work in the Theatre when she passed away last month at the age of 87.
	archives.tcm.ie /thekingdom/2002/10/17/story616.asp (1563 words)

	Obituary: Joan Littlewood (Site not responding. Last check: )
		Joan Littlewood, a major radical political theatre figure in Britain, died in September, aged 87.
		Theatre for Littlewood, was a weapon that she used as part of her social and political commitment to change.
		Joan Littlewood inspired a whole generation of radical theatre.
	www.iso.org.nz /sr/13/joan_littlewood.htm (314 words)

	BBC NEWS \| UK \| British theatre pioneer dies
		Born in 1914 Littlewood was one of the most controversial and influential theatre directors and drama teachers of the 20th Century.
		Littlewood died in her sleep on Friday evening, at the London home of her assistant Peter Rankin, a Theatre Royal spokesperson said on Saturday.
		Littlewood dismissed the establishment's concept of acting early on in her career, choosing instead to go her own way.
	news.bbc.co.uk /1/hi/uk/2273151.stm (443 words)

	Committed to radical theatre\|12Oct02\|Socialist Worker (Site not responding. Last check: )
		JOAN LITTLEWOOD, who died at the age of 87 last month, was arguably the major figure of radical political theatre in Britain.
		Littlewood's relationship with authority was not always a happy one.
		Littlewood saw theatre as a way of expanding the cultural and political awareness of working class people.
	www.socialistworker.co.uk /article.php4?article_id=4513 (437 words)

	Brendan Behan
		These methods were typical of the style of Joan Littlewood's Theatre Workshop, which staged several of his Behan's.
		Littlewood viewed the theater as a collective and revised much of his script for The Hostage - the author himself approved all changes.
		Littlewood's Theatre Workshop, which gained a huge success and left deep impact on modern theatrical style, disbanded in 1973.
	www.kirjasto.sci.fi /behan.htm (1035 words)

	Joan's Book by Joan Littlewood (Site not responding. Last check: )
		Joan Littlewood's Peculiar History as She Tells It The life story of the woman who singlehandedly reshaped the British theatre scene of the 50s and 60s
		This same flair is evident in her picaresque narrative - in her descriptions of the characters in her early life: of encounters with irascible caretakers when trying to rig a one-night stand; and of stage-struck cops.
		Outspoken in her criticism of those who obstructed the company's work, generous in praising those who contributed ot it, Joan is always passionate in her conviction that a theatre should be concerne with much more than simply the putting on of plays.
	www.methuen.co.uk /joansbook.html (204 words)

	Socialist Review (Site not responding. Last check: )
		For many of us the death of Joan Littlewood was the death of the woman of theatre, one whose reputation still carried a resonance of the 1930s through to the present.
		Joan Littlewood had gone to the Royal Academy of Dramatic Art, where she was a brilliant student, and was totally dismissive of many other students there who she thought were debutantes with no serious commitment to theatre.
		What Joan undoubtedly brought onto the stage was theatre which engaged an audience demanding entertainment as well as provocation--plays which revealed the lives of working class people, tackling the hard choices that people had to face and yet often using all the humour, wit and irreverence that people used to cope in their own lives.
	www.socialistreview.org.uk /article.php?articlenumber=8193 (1800 words)

	Compare the ways in which figures of authority are portrayed in Joseph Heller's Catch 22 and Joan Littlewood's Oh! What ...
		Littlewood constructed the play as a 'show', so the ability of characters in power to undermine the seriousness of war is endless.
		Other techniques were available to Littlewood - lyrically bitter songs and the use of slides as an accompaniment to the speech, which both served as attacking forces against the power of authority in the play.
		In Act Two of Littlewood's play, a moment of chaos reaches a serious climax with the juxtaposition of Haig and the British General's telephone conversations against a background of men singing 'They were only playing leapfrog'.
	www.coursework.info /i/27726.html (774 words)

	Director who revolutionised London theatre scene dies at 87 - smh.com.au
		Joan Littlewood, the British theatre director who was credited with leading a working class revolution on the London stage in the 1950s and 1960s, has died at the age of 87.
		Littlewood created the Theatre Workshop, a drama company that brought gritty, dark productions to London's West End theatre district in the 1950s and 1960s.
		The Theatre Royal said Littlewood had requested a private cremation in London and that her ashes be taken to the Vienne region in western France to be placed alongside those of Raffles.
	www.smh.com.au /articles/2002/09/22/1032055035551.html (384 words)

	Guardian \| Joan Littlewood
		Littlewood was born out of wedlock in Stockwell, south London, to a mother who frowned on books, and she wrote later of feeling ugly, untidy and alien.
		Her autobiography, Joan's Book (1994) records with a flicker of sadness that she got pregnant by him and had an abortion.
		Littlewood early discovered the writings about movement of the Expressionist teacher Rudolf Laban; she knew, revered and worked with him.
	www.guardian.co.uk /print/0,3858,4506363-103684,00.html (2294 words)

	People
		Legendary British actor Murray Melvin joined the late Joan Littlewood’s Theatre Workshop Company at the Theatre Royal Stratford East in the mid-1950s, when he was still a drama student.
		Meanwhile, refusing to be defeated, Joan (who was a pioneer of theatre in education) cleared a space amidst the rubble to run Saturday workshops for children.
		Joan Littlewood left the theatre and, right up until her own death in 2002, never returned.
	www.futurestratford.com /people_detail.php?peopleID=1 (869 words)

	Ewan MacColl: Dramaturge - a theatrical chronology (Site not responding. Last check: )
		He was joined by Joan Littlewood with whom he set up the Theatre of Action in 1934.
		For MacColl and Littlewood, it was a seminal piece and almost everything they did in the next fifteen years was influenced by it.
		Joan became sole producer and Ewan became dramaturge, art director and resident dramatist.
	www.wcml.org.uk /people/em/theatre.htm (935 words)

	'if'...
		Joan Littlewood, British Theater Pioneer, Dies at 87.
		Joan Littlewood was one of the most important and original figures responsible for the regeneration of the British theater in the 1950's and 60's.
		Littlewood's Theater Workshop, based in a shabby old playhouse in a poor section of East London, won an international reputation with seasons of offbeat work that she staged by herself.
	radio.weblogs.com /0100269/2002/09/24.html (182 words)

	Socialist Party Obituaries
		Describing himself as a 'leftist', he "could be seen at demonstrations and on picket lines, especially during the 1960s and 70s".
		The impact of her best work, including the productions of Brendan Behan's 'The Hostage', Shelagh Delaney's 'A Taste of Honey', and Frank Norman's 'Fings Ain't Wot They Used To Be', and the 1963 savage satire on the imperialist First World War, 'Oh What a Lovely War', were enormous and far reaching.
		Littlewood commented: "It [the Delaney play] didn't have any shape, and no real ending, yet there was this thing that I loved, this touch of truth that you didn't really hear in the theatre - ordinary working class stuff, nothing pretentious".
	www.socialistparty.net /pub/archive/obituaries1.htm (3571 words)

	Michael Barker, collector; Joan Littlewood and the Theatre Workshop Collection
		Michael Barker, who assembled this collection of Joan Littlewood materials, worked with her in the 1960s and '70s as an assistant and was involved both in theatrical endeavors as well as the street theater ventures.
		The Joan Littlewood series embraces in the main a group of notebooks kept by Littlewood from the late 1930s to the early 1950s, a number of essays and scripts, as well as a portion of her correspondence.
		The correspondence includes the letters between Littlewood and her husband Gerry Raffles during 1947 and '48, as well as a file of correspondence between Littlewood and actors and playwrights, such as Isla Cameron, David Mowat, and Celia Salkeld in the early 1960s.
	www.hrc.utexas.edu /research/fa/barker.html (2189 words)

	[No title] (Site not responding. Last check: )
		In 1959 Joan Littlewood asks some "younger creative nuts" (her words) to design a laboratory of fun and a university of the streets to be located in the Lea Valley in London metropolitan area.
		The common socialist background of Littlewood and Price explains the desire to bring "culture" to the masses and the Fun Palace was going to be a testing place for non-authoritarian relationships between "guest" and "host".
		Anything goes." Joan Littlewood asserts and Cedric Price's intentions are to build a "short term toy with built-in expandability" with a life span of ten years.
	www.mongelli2000.com /nicola/html2/fun1.html (1266 words)

	Obituary: Joan Littlewood \| \| Guardian Unlimited Arts
		Joan Littlewood, who has died aged 87, devoted her prodigious life in the theatre to a faith she had kept since her Cockney youth.
		Littlewood was born out of wedlock in Stockwell, south London, to a mother who frowned on books, and she wrote later of feeling ugly, untidy and alien.
		Littlewood early discovered the writings about movement of the Expressionist teacher Rudolf Laban; she knew, revered and worked with him.
	arts.guardian.co.uk /news/story/0,11711,797124,00.html (2303 words)

	Joan - Quixmart.co.uk
		Set in France amidst the turmoil of the Hundred Years War, young Emil, guided by visions of her predecessor Joan of Arc, battles against the dauphin Louis in her attempt to unite France under the...
		Joan Littlewood's unorthodox autobiography is an account of her attempt to create, through Theatre Workshop, something unseen in Britain since Shakespeare's day: a high-quality popular theatre.....
		Distilled from a lifetime in the limelight and enhanced by anecdotes and personal revalations, this text brings together Joan Collins' inside knowledge of Holywood glamour together with her common...
	www.quixmart.co.uk /-joan.html (175 words)

	Film \| Carry on up the East end
		Sparrows Can't Sing was theatre director Joan Littlewood's first foray into cinema, and saw a handsome Booth at odds with the purportedly seductive George Sewell.
		On the first day of rehearsals, we all turned up word perfect, and the first thing she did was pick the script up and say, 'Well, this is a load of fucking rubbish, isn't it?' And tore it up.
		Ronnie told Joan he didn't usually allow shooting at their club.
	film.guardian.co.uk /print/0,3858,4314777-101730,00.html (1571 words)

	Sir Nigel Hawthorne Fanpage - Autobiography (Site not responding. Last check: )
		The building radiated good nature, which I had to assume was due to the influence of Joan Littlewood, though I’d heard she could be a bit on the awkward side.
		It was one of Littlewood’s greatest achievements and, as a slice of anti-war propaganda, it had no equal.
		Miss Littlewood, I was relieved to hear, wasn’t in the building, she was still in America.
	users.skynet.be /fa419863/bio2805.html (1828 words)

	Spartanburg SC \| GoUpstate.com \| Spartanburg Herald-Journal
		MI5 caused some of MacColl's songs to be banned from the BBC, and blocked the employment of Joan Littlewood as a BBC children's programme presenter.
		This was Joan Littlewood who became Miller's wife and work partner.
		Littlewood was the sole producer and MacColl the dramaturge, art director and resident dramatist.
	www.goupstate.com /apps/pbcs.dll/section?category=NEWS&template=wiki&text=Ewan_MacColl (1241 words)

	Directors Guild of Great Britain - JOAN LITTLEWOOD 1914 - 2002 (Site not responding. Last check: )
		Joan Littlewood changed the face of our theatre and will indeed go on knocking at the door of future generations, giving notes to those willing to learn from her example, of how to fight the good theatre fight with zeal and commitment and a sense of fun that is truly subversive.
		Born in London, the love child of a cockney maid, she won a scholarship to RADA, and began working in radio in Manchester, where she ‘initiated interviews with real people’, leading to the BBC documentary ‘The Classic Soil’ for Olive Shapley.
		Littlewood and Brook were the two greatest theatre directors to emerge in postwar Britain.
	www.dggb.co.uk /publications/article11_101.html (709 words)

	Castle Players - Oh What A Lovely War! (Site not responding. Last check: )
		EIGHTEEN months ago, when Castle Players decided to revive Joan Littlewood's Oh What a Lovely War for their spring 2003 production, there was no real thought of Iraq or other Middle Eastern conflict.
		Anxious to reassure audiences that there is no political agenda to the timing of the production, director Denise Mallender has stuck to Littlewood's original premise of mounting the show as an end of the pier pierrot show, heightening the dramatic contrasts of this story of idiocy, humour, humanity and waste.
		Joan Littlewood's show, devised in the early 1960s for her theatre company at Stratford East, was based on Charles Chilton's radio play The Long Long Trail.
	www.castleplayers.fslife.co.uk /2003OWALW.htm (797 words)

	Classic Cafes \| Sparrows Can't Sing (Site not responding. Last check: )
		Director Joan Littlewood who founded the London Theatre Workshop (and helped birth the rumpled works of, among others, Brendan Behan and Shelagh Delaney) obviously adores Cockney subculture and resents soulless modernism.
		Littlewood is not in love with poverty, but she knows that the language, customs, entertainments of English workers had texture and assurance; and she sees them being dissipated by the very benefits of material progress, by commercialized culture, by spreading "middle-classism."
		Underneath the headlong frivolity, Littlewood is intent on showing the vitality, the communal richness of true working-class life.
	www.classiccafes.co.uk /sparrows_special.htm (642 words)

	Joan Littlewood
		Oh, what a lovely send-off; How theatre supremo Joan Littlewood stage-managed her final journey to rejoin her lover.
		Joan Littlewood, the creator of kitchen sink drama, dies aged 87.
		Joan Littlewood, revolutionary of the stage, dies aged 87.
	www.infoplease.com /ipa/A0905818.html (125 words)

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