In Lynne Pearce's essay, movement between two places (the north of England and rural Scotland) is the focus of a piece combining the personal with the more conceptual. Phenomenology inspires the study of diary extracts of driving the same route regularly over a period of more than ten years. Her account of these road trips in her own ‘driving diaries’ becomes the ‘date’ in this perceptual exploration of what we are thinking when we are driving.
There are an extraordinary number of autobiographies written by British female theatre professionals working during the period. This generation of actresses and female performers were concerned, in part, with locating themselves in a public culture of self-affirmation and reflection. Their autobiographic writing evidences an awareness of the growing interest in their activities as public figures and practitioners, in a labour market where women were now becoming firmly professionalised. The chapter explores how their ‘autobiographic confessional histories’ can be read as a body of work, as cultural interventions that make an explicit contribution to our understandings of the development of professional theatre practice more generally, during the era.