Titlebook: Making Plays; Interviews with Cont Duncan Wu (University Lecturer in Romantic Studies Book 2000 Palgrave Macmillan, a division of Macmillan

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ple solutions or simply num­ erical answers. This path can seem tedious to all but the most motivated of students, so an alternative which can provide many of the benefits of direct circuit testing within the time and resources available is of im­ mediate interest. This is where the MINNIE and HSpice simulati978-0-412-42760-2978-94-011-3122-3

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Duncan Wu (University Lecturer in Romantic Studies

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Max Stafford-Clark,he first production of Greenland (1988). In 1993 Stafford-Clark co-founded an independent company, Out of Joint, with Sonia Friedman. Since then he has been responsible for commissioning the writing and production of some of the most important new works of the 1990s, including Mark Ravenhill’s Shopp

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Introduction,es and distorts everything it touches; the medium is inherently larger-than-life, and inherently alien from the viewer. Its characters pass through the consciousness of the audience in disembodied form. But theatre is more direct: its audience is engaged with the lives of other human beings in the s

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Max Stafford-Clark,any, 1970–74, he specialised in new plays. That provided a foundation for his work with Joint Stock Theatre Croup, which he co-founded in 1974. Joint Stock developed the workshop approach by which writers collaborated with actors in researching the subject of their plays (explained below). This was

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Nicholas Hytner,7. He is the director of many distinguished theatrical productions; for the RSC he was responsible for . (1988) and . (1990); at the National he directed Alan Bennett’s adaptation of . (1990) and . (1991). In addition, he has directed operas and musicals — notably . (Drury Lane, 1989; Broadway, 1991

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Michael Blakemore,itizens, Glasgow, 1966–68, and went on to become Associate Director of the National Theatre, 1971–76. He has directed, among many others, Peter Nichols’ . (1967), . (featuring Leonard Rossiter in one of his great comic stage roles, 1969), David Hare’s . (1974), Nichols’ . (1977), and Miller’s . (198