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John Goodwin is a British theatre publicist, writer and editor who played a crucial role in the development of subsidised theatre in post-war Britain; first〔 〕 with the Royal Shakespeare Company where in the 60s he led the media campaign against concerted attempts to close its flourishing London base;〔 〕 then with the Royal National Theatre〔 〕 where, as an associate director and member of its planning committee,〔 〕 he was a key figure〔 〕 in the administrative team which, in the 70s and 80s, shaped its historic first years on London's South Bank. He is the author of a number of books on the theatre including the best-selling ''A Short Guide to Shakspeare's Plays'' (Heinemann Education, 1979). He also edited and compiled the classic reference work ''British Theatre Design'' (Weidenfeld & Nicholson, 1990) and edited the internationally best-sellling diaries of Sir Peter Hall (Hamish Hamilton, 1983). == Theatre career == In 1946 Goodwin became assistant to David Fairweather, a well-known press representative for many West End Theatres. In 1948 he represented Basil Dean’s British Theatre Group at the St. James’s Theatre. From 1948 – 56 he represented the annual Shakespeare season at Stratford-upon-Avon during the great post-war Shakespeare renaissance there. From 1956-7 he worked briefly in book publishing with the Reinhardt/Bodley Head group. In 1958 he was asked to re-join the Stratford Company and that year, with them, visited Moscow and Leningrad ( St Petersburg). This was the first English company to act in Leningrad since the Revolution. Goodwin covered the visit for the Daily Telegraph (during this visit Coral Browne, playing Gertrude in Hamlet, met the spy Guy Burgess, which became the subject of Alan Bennett's〔Alan Bennett gives an account of her meeting with Burgess as 1958 in the introduction to his ''Single Spies'', which contains the text of ''An Englishman Abroad'' as a stage play and the text of ''A Question of Attribution'' about Anthony Blunt. ''Single Spies'', London, Faber, 1989, ISBN 0-571-14105-6.〕 play ‘An Englishman Abroad’.) From its creation in 1960 by its then director Peter Hall, and for fourteen further years, Goodwin was head of press and publications for the Royal Shakespeare Company. In 1973 he was asked〔 〕 by Sir Peter (now director of the National Theatre ) to move to the National and take up the same post there, a position he held until 1988. In these two appointments he saw theatre history in the making. Both companies were staging productions of arguably unsurpassed brilliance, while achieving massive expansions. The RSC was adding a London theatre, the Aldwych, to its Stratford base. The National, later, was moving from The Old Vic to its present three-auditorium home on London's South Bank. These changes are now widely regarded as having been wholly beneficial but, at the time, each met with a storm of media criticism, due mainly to the increased cost in public money.〔 〕 Bruising battles had to be fought〔 〕 and won. Goodwin was at the centre of the controversies, working closely〔 〕 with Peter Hall to shape the National Theatre's official responses.〔 〕〔 〕 His skill at handling these situations earned him the respect of those around him. Contemporary accounts describe him variously as 'formidable',〔 〕 'genius',〔 〕 and 'sly and brilliant'.〔 〕 Goodwin edited the programmes for both institutions,〔National Theatre Website http://www.nationaltheatre.org.uk/discover-more/about-the-national/behind-the-scenes/nt-publications〕 including, for the RSC, those for the entire Shakespeare canon. Also at the RSC, together with the graphic designer George Mayhew, he invented and perfected the revolutionary style of programmes〔 〕 which combined expert comment with vivid graphics, a format which was later taken up by virtually all subsidised theatres. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「John Goodwin (theatre publicist)」の詳細全文を読む スポンサード リンク
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