Community Theatre: Carnival or Camp?

  • Peter Reynolds
Part of the Insights book series (ISI)


As we approach the end of the twentieth century it would appear obvious to all but the most blinkered observer of social trends that the vast majority of the population in Britain care nothing at all about the theatre. If they do pause to consider it they probably only experience a sense of alienation and mild irritation. For, despite the international reputation some of its directors and actors enjoy in the trans-cultural marketplace, and the wholly disproportionate attention given to the theatre in the ‘quality’ press, and in radio and television arts coverage, potential audiences resolutely stay away in droves. Who can blame them? For those few who do regularly frequent professional theatre in Britain, their role is clear: they are creatively impotent, seldom consulted, and always expected to remain passive (and appreciative) consumers of the production of others.


Conventional Theatre Community Theatre National Theatre Crowd Scene Theatre Company 
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  1. 1.
    J. McGrath, A Good Night Out: Popular Theatre, Audience, Class and Form (London: Eyre Methuen, 1981) p. 15.Google Scholar
  2. 2.
    A. Jellicoe, Community Plays: How to Put Them On (London: Methuen, 1987) pp. 2–3.Google Scholar
  3. 8.
    D. Edgar, The Second Time as Farce, (London: Lawrence and Wishart, 1988) pp. 241–2.Google Scholar

Copyright information

© Editorial Board, Lumière (co-operative) Press 1992

Authors and Affiliations

  • Peter Reynolds

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