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R OYAL jurisdiction through the common law increased exponentially during the period 1215–1381. Participation in the royal courts was therefore an important way in which people became increasingly familiar with the processes of law. The ordinary individual’s participation in these processes occurred either as a result of an incident or dispute requiring settlement by
Kureishi's entrée into the buzz and excitement of London theatre life occurred during his second year at King's in 1975–6. He was 21, not 18 as he has written ( OAOP , introduction vii). He has published conflicting versions of his first encounter with the Royal Court Theatre in Sloane Square. 19 It seems more likely that he, rather than Shanoo, submitted his short play Soaking the Heat to the Royal Court, only to receive an invitation to visit the theatre from its maverick, subversive
Amateur and professional judges 2 The role of amateur and professional judges in the royal courts of late medieval England Anthony Musson The thirteenth and fourteenth centuries witnessed a rapid expansion in the scope of royal justice in England. The growing demand for legal remedies and the need to enforce public order led to an expansion in the activities of the Westminster courts and in the increasing provision of judicial commissions (some ad hoc, others on a more regular basis) in the shires.1 The expansion was inevitably accompanied by the need for a
This book provides an introduction to the English legal system and its development during the period c 1215-1485. It affords a valuable insight into the character of medieval governance as well as revealing the complex nexus of interests, attitudes and relationships prevailing in society during the later Middle Ages. The book considers the theoretical and ideological aspects of medieval law and justice, examining the concepts and discourses to be found in official and non-official circles. It concentrates on manifestations of crime and disorder and the royal response to this in the form of the development of judicial institutions. The book then looks at the dispensation of justice both inside and outside the courtroom. It examines in detail the machinery and functioning of criminal justice both in the royal courts and in those autonomous areas exercising delegated powers. The book also considers the use of extra-judicial methods, such as arbitration and 'self-help', to illustrate the interaction of formal and informal methods of dispute settlement. It focuses on the personnel of justice, the justices of the central courts and the local officials who carried out the day-to-day administrative tasks. The smooth and successful operation of the judicial system was challenged and sometimes hindered by the existence of corrupt practices and abuse of its procedures.
This book examines trials, civil and criminal, ecclesiastical and secular, in England and Europe between the thirteenth and the seventeenth centuries. The cases examined range from a fourteenth century cause-célèbre, the attempted trial of Pope Boniface VIII for heresy, to investigations of obscure people for sexual and religious offences in the city states of Geneva and Venice. These are examples of the operation in the past of different legal, judicial systems, applied by differently constituted courts, royal and manorial, secular and ecclesiastical, which adopted different procedures, adversarial and inquisitorial. Ranging from the thirteenth to the seventeenth century, the book considers criminal trials and civil litigation conducted in royal, manorial and Church courts in late medieval and early modern England. These trials concentrate on the structure, jurisdiction, functions, and procedures of the courts and on the roles of the judges of fact and of law, both amateur and professional, who composed them. The trials of Giorgio Moreto and of Laura Querini were influenced by the politics of the Venetian State and its ongoing and highly charged relationship with the power of the Church. Discussing the legal history of continental Europe, the book then shifts the emphasis from the judges and jurors to the prisoners arraigned before the courts, to the victims of prosecution or to the highly questionable images of them created by their enemies.
five months after the premiere of The Skriker, Caryl Churchill’s translation of Seneca’s Thyestes opened at the Royal Court Theatre Upstairs. Seven months later Sarah Kane’s Blasted, ‘The play [that] sparked off the theatrical controversy of the decade’ (Charles Spencer, Daily Telegraph, 5.4.01), began a brief run at the same theatre, on 12 January 1995. The productions were also linked in two further ways. They had the same director, James Macdonald, and they both included the eating of a child – an act that may have owed a debt in part to the words of the 122
modernist wave which, in the course of the next decade, demanded greater attention and started to dictate new standards of success. This chapter will consider three productions which model different forms of that modernist impulse: Lindsay Anderson’s 1964 production at the Royal Court; John Barton’s 1968 production for the RSC; and Trevor Nunn’s production, also for the RSC, in 1972. Each staging targeted
with a little deviousness and a lot of suave implacability. Only a week after South Sea Bubble opened, John Osborne’s Look Back in Anger began previewing at the Royal Court. This play has become the marker that divides twentieth-century British theatre into before and after, a gateway between the star-ridden conservatism of the West End and the challenging progressiveness of the
Anderson had directed David Storey’s play In Celebration at the Royal Court Theatre in 1969 where the production had been received with widespread critical acclaim. In 1973, Ely Landau and Otto Plaschkes invited him to direct a film version. It was to complement Landau’s American Film Theatre (AFT) series as one of a number of British productions. Two others were produced by Plaschkes, namely Simon Gray’s Butley (1974
print either transcribed from the original document or offered in translation, but a lot remains in the original format and language. 5 The vast majority of source material is not in print at all: this is particularly true of original proceedings before the royal courts, which survive in great bulk in the National Archives held at Kew. The proceedings of manorial and borough courts and of