By Alison Forsyth, Chris Megson

Over the prior twenty years, theatre practitioners around the West have became to documentary modes of performance-making to confront new socio-political realities. The essays during this bookstore this paintings in context, exploring old and modern examples of documentary and 'verbatim' theatre, and using a variety of severe perspectives.

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MacDiarmid made available work-in-progress dealing with the Spanish Civil War. The poem was later published as The Battle Continues (see MacDiarmid, 1957). 13. For Vertov’s influence on MacColl, see Goorney and MacColl, 1986, p. xvi. 14. For an overview of this period, and the place of the Workers’ Theatre Movement in it, see Worley, 2002, pp. 204–8. 15. Ewan MacColl to John Banks (14 December 1983). General Correspondence file, Ewan MacColl and Peggy Seeger Archive. 16. W. H. Smith to Major General Kull (26 April 1940).

The crews worked on the living room floor for what I now know to have been exactly forty-five minutes. (p. 3, emphasis in the original) The performance is one of recollections well beyond this initial scene of trauma, recollections of a web of interconnected memories. Quintana, 22 Janelle Reinelt their newly married daughter, was in hospital in a coma at the time of Dunne’s death, suffering a mysterious ailment. Memories of Quintana’s childhood and her relationship to her father as well as to Didion herself complicate the trajectory of this drama, which ends with the second death, the death of the daughter.

The Nazi–Soviet pact signed on 23 August 1939 had required a volte-face on the part of British communists. Through the latter half of the 1930s, Theatre Union’s Last Edition (1940) 35 Communist Party General Secretary Harry Pollitt had consistently presented the Soviet Union as ‘the principal guardian for maintaining peace in the world’ with ‘an army ready to throw its full, dynamic weight into the scales against German, Italian and Japanese fascists’ (qtd in Morgan, 1993, p. 107). Unable to reconcile himself to a new line that made truck with fascism and presented the war as an imperialistic venture inimical to working-class interests, Pollitt was removed from his post: ‘To stand aside from this conflict,’ he warned, ‘to contribute only revolutionary sounding phrases while the fascist beast rides roughshod over the Europe would be a betrayal of everything our forebears have achieved’ (p.

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