Joan Littlewood

This Drama and Theatre A-Level section explores the practitioner Joan Littlewood. Joan Littlewood (1914–2002) was a pioneering British theatre director and producer, best known for her work in the development of political theatre and experimental theatre. As the founder of the Theatre Workshop (founded in 1945), she was instrumental in bringing a new, innovative approach to theatre, focusing on the empowerment of the working class and the collaborative nature of performance. Littlewood’s work is characterised by her use of physical theatre, socially-conscious themes, and a commitment to challenging conventional theatre forms.

Key Concepts and Ideas

 Theatre Workshop:

• Littlewood’s company, Theatre Workshop, was central to her theatrical philosophy and practice. It became a hub for experimental work, where actors, writers, and directors collaborated in a non-hierarchical environment.
• The company was known for producing plays with strong political messages, often reflecting the struggles and aspirations of the working class.
• Physicality was central to the company’s performances, emphasising ensemble work, where the body was used as a tool for expressing ideas and emotions.

Political and Social Theatre:

• Littlewood was a committed socialist and believed that theatre should be used to engage audiences with social issues. Her works often tackled themes such as class inequality, poverty, and political injustice.
• She advocated for a theatre that was accessible and relevant to the working-class communities she aimed to represent. Littlewood believed that theatre should not just be an aesthetic experience but also a tool for social and political change.

Collaborative and Ensemble-Based Work:

• Ensemble work was a fundamental aspect of Littlewood’s approach. She believed in a democratic process where the actors, designers, and directors all contributed to the creation of the performance. The collective creation of work allowed for greater freedom and creativity, as everyone had a stake in the production.
• Littlewood’s productions often involved extensive improvisation and experimentation, with actors encouraged to explore ideas and characters in a non-traditional way. This emphasis on collaboration over individual star performances was revolutionary at the time.

Physical Theatre:

• Littlewood made use of physicality and movement as key aspects of her productions. Drawing from Brechtian techniques and avant-garde theatre, she often employed exaggerated or stylised physical gestures to reflect characters’ emotions and societal roles.
• The use of gestures and movement helped make the political messages of her plays more immediate and visceral for the audience, highlighting social struggles in a powerful way.
• She was influenced by Expressionism and music hall traditions, integrating these elements to create dynamic and energetic performances that were visually striking as well as intellectually stimulating.

The Epic Theatre and Brechtian Influence:

• Joan Littlewood was deeply influenced by Bertolt Brecht and his concept of Epic Theatre. Like Brecht, she rejected the idea of theatre as mere entertainment and sought to use the stage as a vehicle for social change.
• Littlewood adopted Brecht’s alienation effect (Verfremdungseffekt) to make the audience aware of the constructed nature of the performance and to provoke thought rather than emotional involvement.
• She used direct address, songs, and historification to disrupt the audience’s immersion and encourage critical reflection on societal issues.

Use of Music and Song:

Littlewood frequently incorporated music and songs into her productions, a technique she borrowed from Brechtian theatre. The music was often used to:

• Provide commentary on the action or themes of the play.
• Heighten the emotional impact of a scene or idea.
• Break the dramatic flow and encourage reflection.

Littlewood’s productions were noted for their use of popular music, folk songs, and original compositions, which helped make the themes of her work more relatable to a wide audience.

Physical and Emotional Transformation of Characters:

• In her productions, Littlewood encouraged actors to explore the physical transformation of their characters, often through exaggerated gestures or stylised movement. This approach was particularly effective in portraying societal oppression or class struggle, as characters would physically embody their social roles, highlighting their emotional and psychological states.
• The use of physicality helped to convey the broader social and political themes in a tangible, visceral way.

Key Works

Oh What a Lovely War (1963):

• Perhaps her most famous production, Oh What a Lovely War is a satirical musical about the First World War. Littlewood's direction of this play combined music hall traditions with a critique of the romanticisation of war.
• The production used songs to highlight the absurdity and horrors of war, and employed gestural theatre to portray the stark contrast between the grandeur of military figures and the grim reality of soldiers.
• The play's use of direct address and its episodic structure were influenced by Brechtian techniques, creating a sense of alienation and encouraging the audience to reflect critically on the horrors of war.

A Taste of Honey (1958):

• Written by Sheila Delaney, A Taste of Honey was directed by Littlewood and performed by Theatre Workshop. The play deals with issues of class, gender, and race in post-war England, centring on a young girl, Jo, who becomes pregnant and grapples with her complex family dynamics.
• Littlewood’s direction emphasised the working-class voices and the rawness of Jo's experiences, using physical movement and realistic dialogue to convey the emotional and social struggles faced by the characters.
• This production marked a significant shift towards social realism in British theatre and was noted for its honesty and boldness in addressing issues of identity, class, and sexuality.

The Hostage (1958):

• Littlewood’s Theatre Workshop production of Brendan Behan's The Hostage showcased her commitment to political theatre. The play, which addresses issues of political violence and sectarian conflict in Ireland, was marked by its combination of humour and tragedy, and its use of direct audience address.
• Through this play, Littlewood demonstrated her interest in national and international social issues and her ability to balance political commentary with theatrical inventiveness.

Berkoff and Influence:

• Collaborative Nature: Littlewood’s belief in a collaborative, ensemble-based theatre inspired later practitioners like Steven Berkoff, who also explored physicality and ensemble work.
• Socialist and Political Theatre: Littlewood’s work laid the foundations for a more politically engaged theatre in the UK, influencing other theatre companies such as the Living Theatre and theatre-makers in post-revolutionary Cuba.
• Use of Music and Movement: Littlewood's integration of popular music and physical theatre influenced later theatre artists, who adopted her focus on non-naturalistic staging and audience engagement.

Criticisms of Littlewood’s Work:

• Alienation: Some critics felt that the alienation effect could distance audiences from the emotional core of the drama, making it harder to establish deep emotional connections with the characters.
• Didacticism: Critics have occasionally found Littlewood’s work to be overly didactic, particularly when the political messages overshadowed the personal stories of the characters. This is a common critique of political theatre, which focuses more on ideas than on character development.
• Excessive Stylisation: Littlewood’s experimental use of movement and gesture was sometimes seen as too abstract, leaving audiences unable to engage with the narrative in a traditional, emotional sense.

Summary

Joan Littlewood’s contribution to British theatre was groundbreaking. Through her Theatre Workshop, she championed a politically charged, collaborative, and experimental theatre that aimed to engage audiences in critical thought about the world around them. Her use of physical theatre, music, and direct address created a unique theatrical style that broke with tradition and focused on social realism, political activism, and working-class experiences. Littlewood’s legacy continues to influence contemporary theatre, especially in the areas of political theatre, ensemble-based work, and the integration of movement and song into performances.