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The Arts Council ofGreat Britain

ARTS COUNCILOF GREAT BRITAI N

REFERENCE ONLY

DO NOT REMOVE.FROM THE LIBRARY

Twenty-seventhannual report andaccounts31 March 1971-1972

ISBN 0 900085 71 1

Published by the Arts Council of Great Britai n105 Piccadilly, London wtv oA u

Designed and printed at Shenval Press

Text set in `Monotype' Times New Roman 327 and 33 4

Cover : Wiggins Teape Centurion

Text paper : Mellotex Smooth Superwhite cartridge 118g/m'

Membership of theCouncil, Committees and Panel s

Counci lPatrick Gibson (Chairman)Sir John Witt (Vice-Chairman)The Marchioness of AngleseyRichard Attenborough, CBE

The Lord Balfour of BurleighLady Casso nColonel Sir William Crawshay, DSO, TD

Dr Cedric Thorpe Davie, OB E

Professor T. A. DunnThe Viscount Esher, CBE

Lady Antonia FraserSir William Glock, CB E

Peter Hall, CB E

Stuart HampshireJ . W. Lambert, CBE, Dsc

Professor Denis MatthewsSir John Pope-Hennessy, CBE

The Hon Sir Leslie Scarman, OBE

Professor Roy Sha wThe Lord Snow, CBE

Art Pane lSir John Pope-Hennessy, CBE (Chairman)Alan Bownes sSimon ChapmanMichael Compto nRichard CorkProfessor Christopher CornfordTheo CrosbyHubert Dalwoo dThe Marquess of Dufferin and AvaIan DunlopDennis FarrRichard HamiltonFrancis HawcroftDavid HockneyJohn HultonBryan KnealeEdward Lucie-SmithMiss Julia Trevelyan OmanTristram Powel lPhilip RawsonJeremy Ree sSir Norman Rei dBryan Robertson, OBE

Sir Robert SainsburyRichard Smith, CB E

David Sylveste rBrian Wal lColin St John Wilso n

Committees of the Art Panel :Exhibitions Sub-Committee

Photography CommitteeSerpentine Gallery CommitteeThe following co-opted members serve on one o rmore of these committees :Professor Aaron ScharfBil Gaskin sGeorge J . Hughe sDavid HurnPaul Huxley

Drama PanelJ . W. Lambert, CBE, Dsc (Chairman)Professor Roy Shaw (Deputy Chairman )Miss Susanna CaponPeter Cheesema nProfessor Philip CollinsMiss Harriet CruickshankMiss Constance Cumming sPeter Dew sPatrick Donnell, DSO

Miss Jane Edgeworth, MBE

Richard Findlate rBernard GossNickolas GraceMrs Jennifer Harri sPhilip Hedle yPeter Jame sHugh Jenkins, MP

Oscar Lewenstei nDr A. H. Marshall, CBE

Peter Nichol sTimothy O'Brie nRichard Pilbro wOwen Ree dDerek Salberg, OBE, J P

Peter Shaffe rDonald SindenMiss Caroline SmithShaun Sutto nCarl Toms, OBE

Committees of the Drama Panel :Training Committee :

Designers' Working GroupDirectors' Working Grou pDrama Schools' Working GroupTechnicians' Working Group

New Drama Committe eExperimental Drama CommitteeYoung People ' s Theatre Committee

The following co-opted members serve on one or moreof these committees :Ian Albery

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Membership of the Council, Committees and Panels (continued)

John Allen Committees of the Literature Panel:Brian Berm Fiction Book Club Sub-CommitteeWilliam Bessant Literary Magazines Sub-CommitteeMrs Margaret Birkett Translation Sub-Committe eStuart Burge Writers in Factories Sub-CommitteeJohn Bury The following co-opted members serve on one or mor eJohn Clarke of these committees :Douglas Cornelissen George AstleyMichael Elliott Peter du Sautoy, CBEMartin Esslin, OBE Graham C. GreeneRonald EyreJohn Ford National Manuscript Collection of ContemporaryDavid Forder Writers' CommitteeJohn Harrison Dr Philip Larkin (Chairman)Ralph Koltai Nicholas BarkerBarry Letts Douglas CleverdonJohn McGrath Dr K. W. Humphrey sIain Mackintosh W. Hilton KelliherMichael MacOwan Edward Lucie-Smit hVivian Matalon Mrs A. J . StratfordVal May, CBE P. E. TuckerBenedict NightingaleHarry Pegg Music PanelRobin Phillips Peter Williams, OBE (Acting Chairman)Jonathan Porter Paul Bank sPeter Rice Richard Rodney BennettKen Smalley Harrison Birtwistl eRobert Stanton Miss April Cantel oPeter Stark Dame Ninette de Valois, DBEMiss Janet Suzman David DrewMiss Elizabeth Sweeting, MBE Gerald EnglishMiss Cora Williams James Gib bDavid Wood Sir William Glock, CBE

Colin GrahamLiterature Panel Barrie IliffeStuart Hampshire (Chairman) Miss Thea KingMelvyn Bragg (Deputy Chairman) Keith LesterJ . G. Ballard George Malcolm, CBEVictor Bonham-Carter John ManduellAlan Brownjohn Professor Wilfrid MellersProfessor C. B. Cox Stephen Plaisto wMartyn Goff Andrew Porte rDan Jacobson Simon PrestonProfessor Frank Kermode George RizzaTom Maschler Roger Smalle yRedmond O'Hanlon Simon Towneley, JP, DLPeter RedgroveMichael Schmidt Committees of the Music Panel :Ian Scott-Kilvert Dance Theatre Sub-CommitteeJon Stallworthy General Sub-CommitteeW. A. Taylor, Mc London Orchestras Programmes CommitteeMrs Elizabeth Thomas Jazz Sub-Committe eW. L. Webb Opera Sub-Committee

Piano Sub-Committee

4

The following co-opted members serve on one or mor eof these committees :John AllenMrs Mary Baxte rPeter BootyEric Bravingto nMiss Louise BrowneGeoffrey BushTristram CaryJohn ChesworthJohn CrispWalter DrabbleRoger EamesMiss Jane Edgeworth, MBECharles FoxPatrick GowersAnthony HedgesPeter KatinHarold LawrenceMiss Maude LloydGerald McDonaldGeorge MannProfessor Denis MatthewsJohn MuirStanley Murdoc hMiss Thea Musgrav eMiss Daphne OramDavid ParkhouseTom PetzalMrs Anya SainsburyPhilip TowellRichard William stogether with (in the case of the Piano Sub-Committee )representatives of the Regional Arts Associationsand the Scottish and Welsh Arts Councils

Art Film CommitteeAlan Bowness (Acting Chairman)Edgar Anstey, OB ERichard Attenborough, CBEProfessor Sir William Coldstream, CB ERichard CorkMichael Gil lStephen HearstDouglas Lownde sGeorge MellyGerry O'HalloranSam RohdieNorman SwallowColin Young

Experimental Projects Committe eEdward Lucie-Smith (Acting Chairman)Melvyn Bragg

Adrian HenriOscar Lewenstei nAndrew Porte rMiss Jasia Reichard tPeter StarkPeter Williams, OBE

Theatre Touring Committe eSir John Witt (Chairman)J . W. Lambert, CBE, Ds CProfessor Roy Shawtogether with representatives from the Scottish an dWelsh Arts Councils, the Regional Arts Associationsand small-scale touring companie s

Scottish Arts CouncilThe Lord Balfour of Burleigh (Chairman )Dr Cedric Thorpe Davie, OBE (Vice-Chairman) (M)Neill B . Aitken (M)James F . Arnott, TD (D)H. Jefferson Barnes, CBE (A)J . S . Boyle (M and D )Walter Cairns (M and L)Stewart Conn (D)Professor T. A. Dunn (D and L)The Earl Haig, OBE (A)Douglas Hall (A)Clifford Hanley (D and L)R. D. Hunter, MBE (M)Mrs Moira Kennedy (M )Ronald Macdonal dNeil Paterson (L)John B. Rankin (D)Alan Roger (A)Ian McKenzie Smith (A)Ivison S . Wheatley (D)Thomas Wilson (M)

A =Art Committe eD =Drama CommitteeL =Literature CommitteeM =Music Committee

Drama Bursaries PanelJames ArnottRichard EyreGiles HavergalMiss Joan KnightJames Lovel lMichael RudmanMax Stafford-Clar k

Literature Bursaries PanelStewart Conn

Membership of the Council, Committees and Panels (continuer/)

David FletcherJames Allan FordRobert NyeDerick Thomso n

Publication Awards Reading Pane lMiss Mary BaxterAlastair BorthwickDavid BuchanAndrew LothianOswald Wyn d

Art Pane lMiss Ann Henderso nDr David Irwi nJack KnoxAlberto Morrocc oMrs Cordelia Oliver

Welsh Arts Counci lColonel Sir William Crawshay, DSO, TD (Chairman) (A)Alex J . Gordon, OBE (Vice-Chairman)The Marchioness of Anglesey (A)Christopher Cory (M)His Honour Judge Bruce Griffiths, QC (A)Professor Alun Hoddinott (M)Iorwerth Howells (M)Dr Glyn Tegai Hughes (L)R. Gerallt Jones (L)Charles Langmaid (M)Professor T. J . Morgan (L)Henry Nyman (A and D )Dr Alun Oldfield-Davies, CBE (A and D)Mrs H. M . Ramage (L)T. M. Haydn Rees (M )Gareth Thomas (M )Wynford Vaughan-Thomas (D)Clifford Williams (D )Mrs Elsie M . Williams, JP (A)Miss Menai William s

A =Art CommitteeD =Drama CommitteeL =Literature Committe eM =Music Committee

Art Committeeco-opted members :Rollo CharlesProfessor A . Cochrane, CB EMrs Glenys CourArthur Giardell iTom HudsonRobert Hunter

T. Mervyn JonesMrs Maureen Owe nGethyn Stoodley-ThomasDavid Tinke rJohn Wrigh t

Drama Committeeco-opted members :Ewart AlexanderGeoffrey AxworthyJohn ChilversRaymond Edward sPeter Gil lMrs Nesta HarrisDerek HollinsElwyn JonesR. Emyr Jones, HM IThe Reverend T . James JonesDavid LynAlderman H. H. RobertsD. J . ThomasMartin Williams

Literature Committeeco-opted members :Alun Creunant DaviesHywel Teifi EdwardsRaymond Garlic kDr R. Brinley Jone sD. Tecwyn LloydRoland Mathia sDr Thomas ParryDafydd Elis ThomasDr Gwyn ThomasProfessor R . George Thoma sAled Vaugha nHarri Webb

Music Committe eco-opted members :Ian BruceAlfred Franci sJohn Fussel lAlan Wynn Jone sGlynne Jone sMichael Lewi sKenneth LovelandProfessor William Mathia sW. S . Gwynn William sDr David Wynne

6

Staff

Headquarters105 Piccadilly ,London wiv OAu

01-629 9495

Secretary-General : Sir Hugh Willat tDeputy Secretary-General : Angus StirlingFinance Director : Anthony Field, JP, FCA

Art Director : Robin Campbell, DSO

Director of Exhibitions : Norbert Lynto nDrama Director : N. V . Linklater, OBE

Deputy Drama Director : D. G. AndrewsMusic Director : John CruftDeputy Music Director : Eric ThompsonLiterature Director : Charles Osborn eAdviser for Festivals and External Matters :

K. H. JefferyAccountant : Alan P. Ritchie, AC A

Chief Regional Adviser : Nigel J . AbercrombieInformation Officer : Ian Lyon

Scotland19 Charlotte Square ,Edinburgh E112 4D F

031-226 605 1

Director : Alexander DunbarAssistant Directors :Mrs Rene Spink (Tours)William Buchanan (Visual Arts)Christie Duncan (Music)Harry McCann (Finance and Administration)Alisdair Skinner (Drama and Literature)

WalesHolst House, Museum Place ,Cardiff CF1 3NX

Art and General : 0222-32722Music : 0222-43D55

Director : Aneurin ThomasAssistant Directors :Roy Bohana (Music)William Dufton (Drama)Peter Jones (Visual Arts )Meic Stephens (Literature)Accounts Officer : D. T. Murdoch

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Contents

Chairman's Introductio n

11 Secretary-General's Report

27 Membership of Council and staff

28 Scotland

36 Wale s

45 Annual Accounts

Chairman's Introduction

The Secretary-General's report, which is no wpresented by the Arts Council, relates to the last yea rof Lord Goodman's chairmanship. During the sevenyears of his unique leadership the grant-in-ai dincreased from £3,910,000 to £11,900,000, but thisimportant expansion of means is altogether inadequat eas a measure of the real increase in the Council' sinfluence and activity which he accomplished . Duringthis period the Council made remarkable advance sin pursuit of the objectives in its Charter, and heleaves his successor with a formidable challenge t omaintain the pace he set .

Foremost among the assets he has left is an able anddedicated staff, whose enthusiasm and readiness t owork at all hours when needed, are most noticeable t oa newcomer . One quality which is most frequentl yfound among them is flexibility of mind . I find the mthe very opposite of the popular conception of thebureaucrat .

Recent years have seen a distinct shift in the allocatio nof resources between London and the rest of th eUnited Kingdom . In the Council' s early years theproportion of the grant-in-aid which went to th enational operatic and theatrical institutions had to belarge if they were to be supported at all . But asresources have grown, activities outside London haveclaimed a greater share of the increase, and thi sprocess must now accelerate if the right balanc ebetween the capital and the rest of the country is t obe established .

If the national institutions are to continue to bemaintained at an acceptably high standard, the spee dwith which this balance can be achieved must largel ydepend on the rate at which our resources grow.Such resources are not only to be thought of as comin gfrom the Government . Local authorities and industria lcompanies are playing an increasing part . To achievea rate of growth which will allow us to exploit full ythe artistic development of the country as a whole ,while maintaining intact what has already been s osuccessfully created - this must be the aim of th enext few years .

PATRICK GIBSON

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Secretary-General's Report

With this, its 27th Annual Report, the Arts Counci lpresents its accounts for 1971/72 showing how themoney received from the Government was spen tin that year.

Last year's Report covered a special year (the 25th i nthe Council ' s history) and attempted a survey of thi scountry's achievements in the arts, with the emphasesmainly on England, over a quarter of a century ; an dof the Arts Council 's contribution to thos eachievements . What had public subsidy over theyears made it possible for other people to do ?Were the methods right? The text was later issuedas a booklet .

The present Report comments only on the yearrecently ended . It draws attention to certain presentemphases and trends . The period of twenty-five yearsended with seven under Lord Goodman' sChairmanship. Mr Patrick Gibson becam eChairman on 1 May 1972, just after the end of theyear covered by this Report .

The accounts summarise dThe Council in 1971/72 received from th eGovernment a grant-in-aid of £ 11,900,000. Theaccounts beginning on page 45 show how this mone ywas spent .

(The sums now quoted, and throughout this Report ,are accompanied by figures in brackets showing th ecorresponding grants in the previous year. )

£1,260,000 (£950,000) went to Scotland and £886,000(£564,000) went to Wales, to be spent as decided bythe Scottish and Welsh Arts Councils .

£770,000 (£580,000) went in cash grants to Housin gthe Arts projects in all three countries .

The rest, £8,984,000 (£7,206,000) was spent i nEngland . There was at the end of the year a smallunspent balance of £ 18,000 (£ 14,000) .

The Council makes its allocations before the yea rbegins and pays its larger grants by quarterly o rmonthly instalments, but with a certain flexibility t omeet the needs and changing financial situations o fthe recipients . The initial allocations having bee nmade, a fairly small amount is kept in reserve t omeet crisis needs and to enable the Council to respon dto new developments during the year.

Rolling TrienniumIt has at last been agreed that the amount of th eCouncil's grant-in-aid should be assessed on a`rolling triennial' basis . In other words, at acertain point in each year the Council will kno wapproximately the sum it can expect to be voted b yParliament, not only in the following year, but i nthe two years which will follow . Each year anindication will be given for one further year ahead ,thus maintaining the triennial time span . It is hopedthat this system will allow for much better plannin gby the Council and by its clients .

Operating costs5 . 6 per cent of the total grant-in-aid went i noperating costs . This is a low figure, bearing in min dthe complexity of the operation and its spread ove rEngland, Scotland and Wales . It would be muchhigher if it were not for the help given to the Counci lvoluntarily by thousands of people ; directly, i nservice on committees, panels and inquiries, and i nvarious consultative capacities - and indirectly, b ymembership of the governing bodies of promotin genterprises throughout the country. Most importan there is the continuing response from the artisti cprofessions .

Artists and the Arts CouncilMost of this Report will deal with finance an dadministration . There need be no apology for this .Artistic trends are a matter for the artists . It is fo rthe Council to help to solve the unceasing andalways changing problem of the place of the arts i nour confusing society. It would of course bedisingenuous to claim that the Council is withou tinfluence in artistic matters . In its continuin gpartnership with the artistic professions, demonstrate dby the Panel system and in other ways, the Council ,whose funds are limited, has to walk boldly in th eareas of assessment and choice . For all that, the ke yword in any description of its function must b e, response'- response to other people's efforts . Thismay be by way of a contribution, often limited o rshared with other authorities, to supplement wha tcomes from the paying customer . Response may beinadequate, and the Council fails in its task if subsid yto an already supported and flourishing enterpris eis kept too low: or if, in the case of a new enterprise ,its potentialities are not appreciated and subsidy isrefused or inadequate . Response may be in the makingof a grant to an individual, the purchase of an artist' swork or its selection for exhibition or assistance fo rthe publication of a book . Response includes no tonly the giving of money, but encouragement, advice

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Secretary-General's Report (continued)

and help. The Council's function - and here th eco-operation of the artists and the artistic profession sis crucial - is to recognise quality when it shows itself,and to use its resources to help in the development ofthat quality . There is, on the one hand, the obligatio nto sustain what is established, if it continues to mee ta proven public need ; on the other, to respond to ne wenterprises, and at times to see possibilities i nsomething strange or small .

The need to reach even wider audiences will be th emain theme of this Report . The more effectivesteering of money in the right directions - publicity ,promotion, new administrative structures - thes ematters are important, indeed essential, if the arts areto have a proper economic base and the right positio nin society .

They are however secondary factors . The mostimportant are the vitality and quality of the artisti cwork for which all this provision is made . If standard sdecline, audiences decline . Excellence is rare and noteasily achieved, but without the continuing effort an dresources to attain it any amount of skilled promotionwill be of no avail .

As to the individual creative artists, upon whom th efuture of the arts in this country depends, the Council' sfirst object must be to create the conditions withi nwhich they can do their best work . It is often said thatthere is too much emphasis on the performing arts .Performance at a high standard is inevitably costly .Opera, ballet, theatre, and concerts by largeorchestras take place in expensive buildings, involvingmany people, highly trained and rehearsed, and servedby a host of specialists . The money cannot all befound at the box office . But the performing arts giv eopportunities to new playwrights, composers ,choreographers and designers, directors, actors andmusicians . Recall, for example, the explosive effectson the arts generally of the Diaghilev ballet and theopportunities given to Stravinsky, Picasso, Derain an dothers . British playwrights in the last twenty years havecontributed something quite exceptional to thedrama of the world, and could not have done s ounless there had been available a growing number o fpermanent theatre companies with the resources tostage their work, and the confidence to risk failure .The Music and Arts Festivals of this country year byyear provide a setting for performance of new orspecially commissioned work, aided by special Art sCouncil grants . The Council has during the yearplanned a contemporary music network which, it i shoped, will provide for the repetition throughout the

country of programmes which include contemporar yworks. Performances will be by groups in the differentregions, and will attempt to avoid the over -concentration of this type of work in London, an dto spread the opportunity for it to be heard . Thesuccess of this network will very much depend onthe co-operation of the Regional Arts Associations .

Apart from all this, as the list of grants shows, theCouncil has operated a large and complex variety o fschemes for the assistance of individual artists . Theimportance of this cannot be measured by totallingthe amount of money spent, and comparing it wit hthe sums given to the opera, orchestras, or theatres.The whole Arts Council Art operation, involving th erunning of the Hayward and Serpentine Galleries ,the mounting and sending round the country o fexhibitions, the purchase of pictures and th ecreation of art films, cost in England only £467,000in 1971/72 . The results in artistic terms and in th enumber of people reached is comparable with th eresult obtained by very much greater expenditure o nmusic or drama . simply because those arts whic hinvolve performance are in their nature moreexpensive . The same principle applies to the ArtsCouncil's contribution to literature . Without publi cmoney, very little music making at the higher leve lwould take place at all . With literature, the case i sdifferent, although there is undoubtedly cause fo rconcern about the economic position of writers o ffiction, for example, and the Council has been givingspecial attention to this matter as well as to th equestion of translations from other languages .

The Council's Departmental Structur eMost of the Council's work is still done through it sMusic, Art, Drama and Literature Departments .Each has its system of devolution through bodies lik ethe NFMS, the LOCB, and its links with hundreds ofpromoting organisations and with Local Authorities ,and others who give support . The Council, throughits functional Departments, is in the main regionally -not London - orientated, and this is insufficientl yunderstood. Of the total number of grants made ,90 per cent go outside London . The daily work ofmost Departments, the meetings and the visiting, theefforts to make ends meet, are devoted to activitie soutside the capital .

Seven hundred and twenty-five organisations are no wthrough the departments directly supported compare dwith 316 fifteen years ago .

12

New methodsNevertheless, in the last few years the Council hasbeen trying new methods mostly with a diffusing andregional aim, developing, but sometimes impinging ,upon the functions of the main specialist Departments .Examples have been the Housing the Arts operation ,touring schemes like Dalta, the organising of visitsby the major companies of Opera, Ballet and Dram a(the Welsh and Scottish Opera Companies included )throughout Great Britain and a smaller and growin gscheme for tours by smaller companies and groupsof artists of many types, the encouragement of mor eArt and Music Festivals, the Experimental Project sCommittee, and very particularly the developmen tof Regional Arts Associations .

To further these developments and at the same tim efully to maintain the contributions, financial andotherwise, of the Council's Music and Dram aDepartments, to the organisations supported - thi sfor the Council is no easy problem . It is not only aquestion of finance, though of course, more mone ywould help development in both directions . It is alsoa functional problem . The Music and Dram aDepartments must continue to receive a prope rproportion of the Council's resources. For the majo rorchestras, and the companies of theatre, opera an dballet in the regions, as well as in London, the butte rmust not be spread too thin . The Departments mustalso, in appropriate cases, preserve their links wit hthe organisations they exist to serve .

There is an artistic reason for this . The Departments,with their specialist Panels and Officers, can provide a tnational level a service on which the supportedorganisations rely. Of the new structures the Regiona lArts Associations can also supply a similar service at aregional level . The other new structures, dealing withtouring, Housing the Arts, Festivals, and the rest, no tonly rely on the Departments and the Panels in matter sof assessment and quality, but look to them also, an dto the Council's Finance Department, for advice o nthe business aspects of artistic promotion .

Most of what follows deals with the new trends -the emphasis on regional development and the effort sto reach a wider public . But possibilities in thi sdirection are dependent on the continued functioningof the Council's major specialist Departments andthe artistic result for which the Council's resource sare provided .

Policy trends, as shown by the accountsComparison of the accounts with those of th eprevious year will show the new emphases .

Grants to Regional Arts Associations in Englan dincreased from £317,000 to £472,000 (in 1972/73 thefigure has risen to £700,000) .

Expenditure on touring in England went up from£ 189,000 to £340,000. (In the current year, it will b enearly half a million pounds .) The increase to someextent follows from the transfer of subsid yresponsibility for touring from Drama and Musi cDepartments to the Council ' s DALTA organisation ,but even allowing for this, in terms of money and intouring weeks the growth is substantial - from162 to 188 .

Contributions of cash to Housing the Arts projects i nEngland increased from £443,000 to £618,000 .Nearly all the buildings will be outside the Londo narea .

Grants to Festivals increased from £42,000 to £53,000 ,and to arts centres and arts clubs from £35,000 t o£62,000 .

To these figures must be added the increased amount sgiven to organisations promoting drama and musi coutside London. For drama, the increase was £298,577 ,going mainly to assist the development of the regionalcompanies . Musical activities received an additional£220,372, partly in the form of direct subsidy to themajor orchestras and other promoting bodies, an dpartly indirectly through the National Federation o fMusic Societies . (The increases under these headsamount to 26 . 5 per cent and 21 . 2 per cen trespectively.)

Four themesIn the year's work four themes have been prominent :(a) the need to reach more audiences, (b) administrationand publicity, (c) touring (particularly touring o fopera) and (d) Regional Arts Associations .

The four themes are really linked in a single emphasi son the second of the Council 's functions under it sCharter - to increase the availability of the arts ; astretching out by the Council's clients and by theCouncil itself to reach more people .

Audiences and attendancesHow many people in Great Britain really are affected ?Is the number growing? Accurate answers are not

13

Secretary-General's Report (continucd )

easy, but there are some pointers .

The first is the number of organisations directl ysubsidised. In 1971/72 the Council gave grants t o725 (666) organisations in Great Britain promotin gopera, ballet, theatre, orchestras, as well as to ar tgalleries, festivals and arts centres .

The second is the number of organisations subsidise dindirectly . 1,083 (1,073) concert promoting bodiesbenefited from guarantees through the medium of theNational Federation of Music Societies, and RegionalArts Associations now covering nearly all Englan d(Greater London included) and Wales were helpedto subsidise and encourage a range of activities on awider and more local scale .

Thirdly, there is the Council's directly promote dwork : three Opera for All companies touring Grea tBritain, two art galleries in London (the Hayward andthe Serpentine), the mounting of exhibitions shown i ngalleries all over the country, the purchase of work sof art, the making of art films and the film tours,grants to writers, writers' tours, and dozens ofschemes for training, awards and prizes, includ ingthe administration of a number of separate fund sfor these purposes .

All this reaches, and involves, many people in man yplaces .

What is the measure, first, of the audience reache dby the 725 organisations directly receiving grants ?The first fact is that they all continued to keep alive :and this, despite subsidy, is by no means a foregon econclusion . All are operating businesses . Entertain-ment business in the subsidised as well as the purelycommercial sector is notoriously a chancy affair .Their credit balances - in a few cases small deficits -at the end of the year resulted from box office taking scovering 90 per cent or more of the cost of operatio n(Chichester, the Royal Shakespeare Company a tStratford and a number of Festivals) to as low as 50per cent (Royal Opera House and a few opera, balle tand drama companies) . Subsidy from the Arts Council ,from Local Authorities and other sources, provide dthe rest .

But a high rate of subsidy did not necessarily mea nlow audiences . The Royal Opera continued to fill th ehouse to 90 per cent of capacity . Not many otherfull-scale opera houses in the world operating all th eyear round meet half the cost of their work fro mthe box office . The subsidy need is determined by the

high cost of product of quality and the need to mak ethat product widely - and therefore reasonablycheaply - available. A repertoire system for opera,theatre or ballet, with the regular insertion of newproductions, makes for quality and serves the public,but is costlier than a commercial system based on lon gruns. With a long-run theatre system there are, on th eother hand, more failures - often with heavy losses- than successes . All of the items in a repertoire cannotbe equally successful and there must be a freedom t otake risks . The public must be given the opportunityto see and hear new work, even if this is notimmediately popular . Our artistic future depend son this continuing refreshment.

Despite all this, the Council believes that there areseats empty which, with better promotion methods ,could be filled, and that the audience contribution t othe total cost requires consideration . These matters ,as will be seen later, have had special attentionthis year .

Some theatre companies began to feel the draugh tsomewhat, because of unemployment and less moneyin the pocket . In total, however, their box office taking sincreased . Seat prices often had to be raised, bu teconomic pressures gave an extra fillip to an alread yexistingeffort to reach new audiences and to do thi sin new ways . The methods of the old style theatremanager or concert promoter, posting his bills,inserting his press advertisements and waiting fo rbox office results, begin to seem out of date . Becaus emost of the organisations supported by the Counci lhave grown from local roots, they are involved i nthe life of their communities . The supported theatresparticularly provide a wide range of activities in thei roften new buildings in addition to the evenin gperformances, and co-operate with others runnin gan art gallery or organising concerts or films . Hereare good ways of making a wider impact on th ecommunity. Large and important new theatres wereopened at Birmingham and Sheffield during the yea rand the result in each case has been an increase i naudiences, in Birmingham substantial, in Sheffiel das yet less so .

The Council's art exhibitions in London during1971/72 attracted attendances in the region of 290,000and the varied and important programme is include din the list of exhibitions on page 68 . The Haywar dGallery has not maintained the very high level o fattendances attracted by one or two of the exhibition sarranged in the opening year. Naturally there aremany tens of thousands of people who wish to visi t

14

an important Van Gogh or Matisse exhibition . TheHayward Gallery cannot year by year arrangeexhibitions of this popularity, nor perhaps is that it sproper function, except from time to time . Attendancesthere during the year were 114,000. On the other hand,attendances at the Serpentine, the other Londo nGallery operated by the Council in Kensingto nGardens during the summer months, show asubstantial increase . Exact figures are not availabl ebecause no charge is made for admission bu tattendances there during the seven months for whic hthe Gallery was open are estimated at more than100,000 . This result was encouraging enough topersuade the Council to keep the Serpentine open fora longer period each year in future . The necessaryheating and lighting installations should be complete dduring 1972/73 so that the Council will be able topromote an extended season of exhibitions ther eduring 1973/74 .

Festival sAttendances at music and arts festivals receivin gCouncil grants passed the million mark for the firsttime this year. The number of supported festival swas thirty-five . These are interesting figures, recallin gthat in the years between the wars the Three ChoirsFestivals Malvern, and a few more, made up theFestival total . Few European countries have acomparable number . If sometimes from Piccadill ythe Festival scene looks a little crowded, the vie wmay well be different in Bath or Nottingham ,Newcastle upon Tyne or Cheltenham, Harrogate o rStroud, Brighton or York . Each of these Festival sis, like many others, individual in its colour and theresult of intense local effort and enthusiasm . The cost ,incidentally, in terms of Arts Council subsidy, i ssmall - £209,288 (£ 190,904) in total, with no festiva lin England normally receiving a guarantee in exces sof £6,000. Many towns, of course, use their local andalready subsidised resources - a theatre company, a norchestra or art gallery - for festival contributions ,but these short and intense efforts on a special scal ewith visiting performers of exceptional quality clearlywin a great audience response, mainly local, thoug hwith a national and sometimes international element .And the official audience figures do not tell the whol estory. They take no account of unofficial and fringeperformances, street events, and broadly popularfeatures on a mass scale, all generated by the festiva litself, like the `anti-festival' which accompanied theofficial events recently in Bath . *

*A list of Festivals in Great Britain is available from th eCouncil's Publications Department, price 15p .

OrchestrasThe experience of the nine symphony orchestrassubsidised by the Council was during the yea rparticularly encouraging . So far as London i sconcerned, the average attendances for concert ssubsidised by the Council and the Greater Londo nCouncil through the London Orchestral Concer tBoard, which had for a number of years remained a tthe satisfactory average of about 77 per cent ofcapacity, showed a very marked increase . Figures arenot available for all the orchestras, but each of the mshows a substantial improvement . For one of them ,the London Philharmonic Orchestra, availabl efigures show attendances at 90 per cent of capacit yfor all concerts at the Royal Festival Hall, with a naverage for all concerts at an even higher figure .

`Sold Out' notices at the LPO's concerts outsideLondon were the rule rather than the exception .

So far as the regional orchestras are concerned ,full figures are not yet available, but clearly th emetropolitan increase was reflected in many othertowns and cities . The Royal Liverpool Philharmoni cOrchestra, for example, had a record year fo rattendances, and therefore a substantially improvedfinancial position . Concert receipts produce d£19,000 above the budget estimate .

In the Council ' s 1969/70 Annual Report there was abrief reference to the Orchestral Resources Inquiry ,chaired by Professor Alan Peacock, whos ecomprehensive and detailed survey was completedin April 1970, and published in July 1970, after th eCouncil had considered it fully and carefully . Some ofits recommendations have already had some effect ;others, and especially those of very far-reachin gcharacter, are continuing to influence the Council' sthinking and its evolving music policies . Certainparticularly important recommendations are againreceiving special attention .

The largest organisationsFor three of the four largest clients of the Council ,audiences increased . Most notable, perhaps, was thesuccess of Sadler's Wells, who showed during the yea rthat, in style and repertoire, as in drawing capacity,they were now well adjusted to the opportunitie sgiven by their large and centrally located home in theLondon Coliseum . They greatly increased thei rpublic for opera in English at popular prices . Apar tfrom touring they gave in that large theatre 18 5performances to total audiences of 328,00 0representing 75 per cent of capacity . The greatly

15

Secretary-General's Report (continued )

regretted and comparatively early death of Stephe nArlen robbed him of the pleasure of seeing hi sambitions for the organisation, for which he worke dso hard and so long, crowned by the public's larg eand increasingly enthusiastic support .

The Royal Shakespeare Company played to recor dnumbers, giving at Stratford-on-Avon 29 2performances to 402,000 people, representing 96 pe rcent of capacity . In other words, there was seldoman empty seat for a nine-month season, with foreig ntourists accounting only for a minor proportion .Except in the height of summer, the audience come smainly from the huge population of the East an dWest Midlands . At the Aldwych Theatre in Londo nthe Royal Shakespeare Company played to a furthe r268,000 people, representing 80 per cent o fcapacity .

At Covent Garden the figure once again showe d90 per cent of capacity for opera performances, wit h92 per cent for ballet, with by no means stereotypedprogrammes . The touring attendances for the Roya lBallet group, however, were not so large .

The National Theatre decision to run a lengthyseason at the New Theatre as well as at the Old Vi cwas a further attempt to serve a wider audience .Although the result was not as successful as had bee nhoped, the total audience for both theatres was388,000, with a further 75,000 at the Young Vic .

These figures show for the four largest organisation ssupported by the Council total audiences during theyear approaching two million people .

The Welsh National Opera Company gave forty-eigh tperformances in Wales, attended by 44,000 people ,and forty-eight performances in England, attende dby 55,000 people .

Scottish Opera gave sixty-nine performances i nScotland, attended by 73,000 people, and twentyperformances in England, attended by 17,000 peopl e

The small scal eLast year's Report drew attention to a trend toward ssmaller scale methods as part of a wider movemen taway from the traditional forms of promotion andpresentation to the public, typified by the four largeorganisations last described .

This trend represents a particular effort to reach ne waudiences . Efforts continue in long established forms

like Opera For All, Ballet For All, and the work of th esmaller scale opera companies such as the Englis hOpera Group, Phoenix and Basilica, the Londo nseasons and tours of Ballet Rambert, Londo nContemporary Dance Company and Northern Opera .There is a new growth of small drama companies andgroups visiting theatres, halls and universities all ove rthe country . The Council has now produced apublication called `Groupvine', giving a list an ddescription of what is available . It covers drama ,music, dance, art exhibitions, writers' and artists 'tours, entertainment and artistic provision of al lkinds, by no means confined to Arts Counci lsubsidised enterprises . Accurate audience figure swould be difficult to obtain, but the public served b ythis developing network is certainly growing .

British Rail - Music and Theatre Lin eA somewhat unexpected, but extremely welcom enewcomer to the arts sphere during 1972 has bee nBritish Rail .

Music and Theatre Line, a novel scheme, providingseats at London's leading entertainment centres ,combined with rail travel from the provinces, ha sfirmly established itself in a wide area of Souther nEngland, while similar ventures at provincial centre sare also being developed .

` Journeys Through Music'- imaginative new musica lteach-ins arranged in conjunction with the RoyalPhilharmonic Orchestra and Antony Hopkins, werefor people of all age groups . They twice filled theRoyal Albert Hall to capacity, and, in view of thei rsuccess, a further six have been planned for the1972/73 season .

Publicity and administrationDuring the year under review, special efforts hav ebeen made to deal with these questions in fou rways .

Publicit yThis question has loomed large in the Council' swork during the year . Could more effort be made todraw the attention of the public to what is going on ,and not only that, but to market the events fo rartistic enterprises in a more attractive, sophisticate dmanner? Are supported organisations doing enoug hby way of promotion? Can the Council itself providesome practical help in these matters, and how fa rshould the Council's own activities be publicised, o rshould the spotlight mainly be directed on theindependent organisations which it supports ?

16

Some of these questions were considered by aCommittee of Inquiry set up by the Council early i nthe year under the Chairmanship of Sir Joh nPope-Hennessy, and including in its membershi p(apart from certain Council members) Mr Charle sWintour, the Editor of the Evening Standard, MrJohn Higgins of The Times, and Mr Huw Wheldo nof the BBC. Its purpose was to investigate the rol eof the Arts Council in publicising its directl ypromoted activities (meaning mainly its art exhibi-tions) and also those of its beneficiaries . Its recommen-dations led to the establishment of a new post o fInformation Officer . Mr Ian Lyon, who was appointedto fill the post, will for the time being concentrat emainly on publicising exhibitions at the Haywar dGallery and the Serpentine and at a large number o fother galleries in London and throughout thecountry. He will also be concerned, and perhapsincreasingly, with the Council's own activities an dpossibly those of certain of its beneficiaries . So far asthese last are concerned, the work could clearly b elinked increasingly with what is already being don eby the Regional Arts Associations who already veryeffectively, and particularly through the medium oftheir regular bulletins, draw attention to th einteresting things which are going on in their respectiv eareas .

The Committee of Inquiry into Films (under th eChairmanship of Richard Attenborough) which di dnot begin to meet until after the year under review ,is considering, among other questions, the extent t owhich film-making and video recording should b eused in giving to a wider public information abou tthe activities of the Council and the work of it ssupported bodies .

Seat pricesIncrease in audience and attendances and the sprea dof interest in the arts are obviously affected by th ecost of admission . A Committee of Inquiry was se tup at the end of 1970 to investigate this matter i nrelation to the performing arts . Its Chairman wa sMr Aubrey Jones and its members included M rDonald Albery, Sir John Clements, CBE, Mr JohnDenison, CBE, Mr Douglas Morris, Professor C . A .Moser, CBE, Mr T. J . Pyper, Mr Derek Salberg ,OBE, JP, Mr Hugh Jenkins, MP, and Mr GeorgeSingleton, CBE . The Report was recently received bythe Council and is now under consideration by th ePanels and other bodies before the Council decid eon any action to be taken . The Report drew attentionto certain inconsistencies and discrepancies, an dparticularly to the still very wide gap between prices

for performances in London and outside it . Itsappendices include a great deal of statistical detail .

Arts administratio nThe Council's Committee of Inquiry into the trainin gof arts administrators presented its Report to th eCouncil in October 1971 and this has since bee npublished . *

Professor Roy Shaw chaired the inquiry into th erequirements for the professional training of art sadministrators in Great Britain, to consider an dassess the courses at present undertaken in this fieldand to make recommendations concerning the bestfulfilment of these requirements in the future . TheCouncil decided to initiate this Inquiry after reviewin gthe results of the one-year Arts Administratio nCourses which commenced in September 1967 at theSchool of Management Studies at the Polytechnic o fCentral London . This Diploma Course, together wit hthe Council's short courses in Theatre Administration ,did pioneering work in this field, and it was encouragin gto read that similar courses were being established i nFrance, Canada, East Germany, Italy and the USA .

The Report recommended that the Arts Adminis-tration Course should continue to be based at th ePolytechnic for a period of three years from 1972/73

and thereafter on a `rolling triennium' basis . Inaddition, recommendations are being implemented toappoint a Course Director and a ManagementCommittee who will review the curriculum, th ebalance of academic study, periods of secondmen tand the examination syllabus .

Further, the Report pointed out the need for researchinto arts administration and the relevance of this t oacademic disciplines .

In addition, short training courses on general andspecialised aspects of theatre and arts administratio nwill be held so that people already working in th earts can attend either on a full-time basis or fo risolated aspects of the syllabus . It is hoped to be abl eto organise this by planning `linked' weekend course son a residential basis, both in London and i nregional centres .

Finally, it was hoped that the Institute of Municipa lEntertainment, the Museums Association and th eLibrary Association would continue to co-operat eincreasingly with the Council to avoid any duplicatio n

* The Report is available from the Council's PublicationsDepartment, price £1 .00 .

17

Secretary-General ' s Report r < onlu cd

of training efforts .

The first meeting of the new Management Committeewas held in May 1972 under the Chairmanship o fProfessor Roy Shaw, and a Course Director will soonbe appointed .

Peat, Marwick ReportIn August 1970 the Arts Council of Great Britai ncommissioned Messrs Peat, Marwick, Mitchell &Company, the management consultants, to revie wthe operations of the Royal Opera House, CoventGarden Limited, Sadler's Wells Trust (Coliseum)Limited, the National Theatre Board and the Roya lShakespeare Theatre . The review was completed an dsubmitted to the Council in January 1972 as a mainreport and four supplementary reports each dealin gwith one of the individual companies . The pattern o fpresent and future costs was considered, with a studyof comparisons of the ways in which production ,pre-production and administrative costs can b econtrolled . The Report puts forward proposals fo rcost savings and organisational improvement sfollowing many long discussions with the staffs o fthese companies as well as with officers of the Art sCouncil . The study considered ways of controllin gcosts and tried to identify areas of potential cos tsavings, without affecting the artistic standards of thetheatres concerned . The consultants say that it is thei rimpression that these four theatres could, like anyother company, save costs in certain areas and improv esome aspects of their control procedures . However,they are satisfied that the theatres are already verycost-conscious, and the general quality of th emanagement, which is of a reasonably high order ,should ensure continued vigilance in the exercise ofthe necessary financial and other controls.

If all the recommendations are taken up an dimplemented energetically by the four managements ,savings overall of up to £200,000 per annum can b eexpected . This figure of maximum feasible savingsshould be put in perspective against the tota lturnover of the four companies amounting to ove r£71 million in 1971 /72 (i .e . less than 2 . 7 per cent) .

The main and general conclusion was that the onlyway of achieving any substantial saving in the futur epattern of subsidy would entail `changes of s ofundamental a nature that the present artisticpolicies and standards of the four companies woul dbe severely compromised . . . and it might be bette rfor one or more of them to close down rather tha nattempt to carry on with an activity of minimal

artistic worth' .

Messrs Peat, Marwick emphasise that their Report ismore concerned with possible weaknesses than wit hlavishing praise . It is therefore important to set thei rcomments against the immense difficulties associatedwith the managements of large artistic enterprises wit hlimited financial resources during a period of spirallingcosts . The consultants have `no hesitation in sayingthat, in the main, the directors of these theatres hav ebeen remarkably successful in meeting the problem sof rapidly increasing costs without lowering thei rartistic standards' .

The importance of such a survey is two-fold ; firstly ,its detailed reports give methods of reducing an dcontrolling costs and increasing income ; secondly, i tattempts to assess future trends. This last is difficul tbecause of changes of premises ; the National Theatremoves to the South Bank, which will have two theatres ,in 1973 ; the Royal Shakespeare Company is due t otransfer its London operation to the Barbican art scentre in 1977 ; and the Royal Opera House hasproposed a redevelopment of its existing site, possiblyincorporating a second and smaller theatre .

Although the Report identifies areas where costs ca nbe reduced, the savings are to be achieved only once ,and do not in any case amount to a large percentage .A normal commercial enterprise has more scope fo rmitigating the effects of inflation by increasin gproductivity . This is not possible when the enterpris epromotes the performing arts . The Report confirm sthis, but does however give consideration to th eopportunities to increase revenue . It refers to areluctance to be vigorously commercial abou tseat-pricing . Increased revenue could however com efrom more performances of each item in a repertoir eand from commercial exploitation of certai nproductions . There is a recommendation that th eCompanies should approach private and commercialsources for donations .

The Report notes that there is little sign of an yslowing down in the rate of inflation affecting salaries ,wages and fees . Future trends in the shortfall betwee nearned revenue and expenditure will depend largel yon the extent to which box office receipts can keeppace with the continuing rise in costs . Takin garbitrary increases in costs of between 7 per cent an d10 per cent, and assuming that income from the bo xoffice matches this increase, the Report reaches th econclusion that the shortfall between the two can b eexpected to increase at the same rate . This forecas t

18

Regional Arts Association s

MID PENNINE ASSOC.FOR THE ARTS pop•0•E

GREATER LONDONARTS ASSOC.Pop. 7-4m .

PROPOSED SOUTH EASTER NENGLAND ARTS ASSOCIATIO Npop, 3•1m.

19

Secretary-General's Report (continued )

would result in a combined shortfall for the fou rtheatres concerned (amounting to approximatel y£3 . 6 million in 1971/72) rising to between £5 millionand £5 . 8 million by the end of the next quinquennium .This conclusion has of course important implication snot only for the companies themselves, but for theArts Council and for the public who pay at the bo xoffice.

Regional Arts AssociationsRegional matters and the role of the Regional ArtsAssociations were very fully discussed in the las tReport . The deployment of an increasing proportio nof the Council's resources to further regiona ldevelopment has been mentioned earlier in thi sReport, particularly in relation to Housing the Art sprojects, Festivals, touring, the increase in grants t oregional theatres and orchestras, and the quite rapi dincrease in the grants to Regional Arts Associationsthemselves .

The progress and activities of the Associations are ofcourse described in their own Annual Reports . Here, asummary of the total situation may be interesting .

In 1968, when the Council established the post ofChief Regional Adviser and set up a small office toprovide a direct and continuous liaison with eachRegional Arts Association, there were sevenAssociations, to which the Arts Council (and in on ecase the Welsh Arts Council) made grants totallin g£ 185,000. There are now, or shortly will be, fourteenAssociations, and the Art's Council's allocation i n1972/73 amounts to some £700,000 in England an d£25,000 in Wales .

Almost all of England and Wales is therefore nowserved by a Regional Arts Association . As may beexpected, their development has not proceeded at a neven pace throughout the country . The extent ofLocal Authority backing, the size, the geographica lcharacter, and the history of the area, the population ,the transport conditions, the existing arts organisation sand local resources of every kind, have all played apart in determining the precise function of eachAssociation and the success it may have in carryin gout that function .

Nevertheless the movement as a whole is larger ,stronger, and more effective than it was four year sago . The year under review, therefore, saw thecompletion of a stage in this important development .It was a year of increased financial support and co -operation from Local Authorities all over the country

for the work of the Associations, justifying theCouncil's policy over the last four or five years o fbuilding up the Regional Arts Associations inpartnership with the Local Authorities . The partner-ship, though varying in strength and effectivenessfrom region to region, gives promise now of becomin gmore effective as it becomes more conscious an ddeliberate .

Some interesting developments during the year areworth mentioning, if only because they represen tattempts by the Associations to reach larger audiences .For example, a number of Arts Associations hav eformed small-scale professional theatre groups, to tou rwithin their respective regions . There are about half adozen of these now, and there have necessarily bee nteething troubles and one or two relative failures, butthe overall picture is one of successful growth . Inseveral of the regions the extraordinary success of thescheme of assisted or subsidised travel to theatres ,concert halls, etc . which is now operated by everyregion, has become almost an embarrassment . Thi smeans that high quality professional entertainment ,whether theatrical or musical or otherwise, hasbenefited from substantially increased audiences . Thefact that the assisted travel schemes are beginning t ocost more than can conveniently be included in thebudgets of the Regional Arts Associations is a sign o fhealthy growth, no matter how inconvenient .

The year was marked by a debate in the House o fLords introduced by Lord Feversham, the Chairma nof the Standing Conference of Regional ArtsAssociations, in the course of which many valuabl eand constructive suggestions were made . Quiteclearly the Associations, although rightly jealous oftheir independence, look to the Arts Council for acloser partnership than that which exists between th eCouncil and other subsidised organisations . Althoug htheir respective methods of working are often ver ydifferent, and the Associations are able to provid ehelp to a range of activities somewhat wider tha nthose supported by the Council, there is a basicsimilarity of purpose and a shared belief that out ofthis could grow a more potent source of energ ydirected towards the arts than exists at present. Onthe one hand the Council could make better use o fthe Arts Associations' more intimate knowledge o fthe people and cultural activities in their own regions ;on the other hand the Associations would like to fin din the Council an increasing creative initiative whic hwould supply them with information, the fruits o fexperience, research and expertise not readil yavailable to them locally .

20

The practical suggestions for the furtherance of theseends, which begin to emerge from discussions whic hpreceded and followed the debate, are for the provisio nfrom Piccadilly of a number of services, coming mostlyunder the description of research and information ;in three main categories :

1. research into the demand and market for art sevents ;2. research into the work of all relevantorganisations in the arts field, both in the Unite dKingdom and abroad ;3. technical and specialised research .

Research and information would be a two-wa yaffair. The regions could increasingly supply informa -tion about the life of their areas, which would be ofgreat value to the Council in its work for supporte dorganisations with which it retains direct contac tand a major responsibility .

As to publicity and promotion, the Regional Art sAssociations provide an opportunity for the dis-semination on a wide scale of information abou tartistic events in their areas . Their monthly bulletin sare already of great value here, but they would like t obe able to consult the Arts Council when there arespecific problems on which it would be useful to hav eadvice from an independent expert authority .

It is hoped that by the time the next Report appears ,considerable progress will have been made in thes ematters .

Touring and the Opera SituationThe year saw a further development of the Art' sCouncil's Dalta operation . Two years ago theCouncil appointed Mr Jack Phipps to operate, wit ha small staff, a scheme for organising touring, mainl yto the large theatres in the bigger towns and cities ,by companies of opera, ballet and drama . The largercentres of population need and demand visits, from th emajor opera, ballet and drama companies . The needfor touring by smaller companies and the repertor ytheatres, except perhaps on a local basis, is not so clear ,bearing in mind the regular work of the importan tregional theatres . Present Council policy is t oconfine Dalta touring mainly to the organisations o fnational and international standing, with perhap soccasional participation from a commerciallyoperated company .

Touring is expensive and the increase in mone yavailable to the Dalta organisation to promote thes evisits has already been mentioned, as has the

response from the Regional Arts Associations ,evidenced by the interesting Royal Court scheme i nLiverpool .

The total result has been a growth in touring week sfrom 162 in 1970/71 to 188 in 1971/72 . The Daltascheme has been the subject of regular consideratio nby the Council during the year, and by its TheatreTouring Committee, which includes a number o frepresentatives from the Regional Arts Associations .Proposals are now being considered to enable Dalta ,while still remaining a part of the Arts Council, to hav ea greater degree of independence as a working unit .Everyone agrees in principle that Dalta should be give nmore `teeth' and a greater power of direction . This canonly slowly be achieved, but there should be no doubtof the intention to obtain for the people of our large rtowns and cities a properly co-ordinated number o ftouring visits at the right time and in the right, bu tlimited, number of theatres . Local response received s ofar is encouraging . The quality of the theatre buildingsvisited is important if local populations are to seeperformances at the same standard as in London .Here local initiative and willingness to spend mone yon these theatres, many of them old and ill adaptedfor opera and ballet, could be a deciding factor .

Oper aThe Council gave special attention this year to opera ,which at present absorbs about one quarter of th etotal annual grant-in-aid . The Report of the Council' sOpera and Ballet Inquiry, published in 1969, high-lighted a number of important long-term development sin this field, including the need for new opera house sin Edinburgh, Manchester and Cardiff. In themeantime, the major opera companies continue tothrive. With the Scottish and Welsh Oper aCompanies especially, playing a greater role in th eprovision of opera in England as well as in thei rhome countries, there is an increasing need to planahead the resources that can be made available t othem, while at the same time keeping the overal lexpenditure on opera within reasonable limits .

The Council therefore set up a small Working Partyconsisting of officers from the Scottish and Welsh Art sCouncils as well as from headquarters, to review th eprovision of opera in Great Britain, and in particular ,to examine whether the resources available werebeing used to the best advantage . The main concernof this survey was the provision of opera in the regions .How could this be increased? How much touring wa sfeasible, by which companies and in which theatres?What was the level of subsidy required, given that a

21

New Theatre Developments

Birmingham Repertory Theatre

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Crucible Theatre, Sheffield

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in

23

Open stage production, Colchester

Proscenium arch production

Mercury Theatre

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24

Theatre RoYal Bristol

Derek Balmy,

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00000000 000

Derek Balmer

25

Secretary-General's Report (continued )

primary aim must be to enable the national companie sto maintain their high standards, notwithstanding thepressures on them from rising costs ?

The Council will use this Report as a basis fo rcontinuing debate on these important questions . TheReport itself dealt with them according to two timescales : priorities were first suggested over the perio dof the next five years ; and secondly, beyond that,taking into account the new circumstances which ar elikely to arise when certain major projects - fo rexample, the new Edinburgh theatre - are realised .

While the priorities will no doubt need to be subjecte dto constant scrutiny, it has already been possible ,following the Report of the Working Party, toconcentrate on a number of the most urgent problems .It is hoped, for example, that the Council will be in abetter position to assess the needs of the major operacompanies outside London well in advance of thei rtouring plans, and to ensure adequate subsidy ,through the Council's touring agency, Dalta, t oenable these companies gradually to increase theirtouring programmes.

Conclusio nThis Report has described the Council's recen tattention to its obligation to make the arts availabl eto more people . There remains the first obligation i nits Charter which is to `the practice of the arts', tostandards, and to quality . There is really no conflicthere . Wider audiences are not likely to be reachedunless the artists have something to communicat ewhich is alive and relevant, sometimes strange an ddisturbing. The arts cannot, by blueprints or plans, b ysubsidy or business promotion methods, be legislate dor coaxed into existence . It is the Council's function togive some necessary resources and encouragementwhenever and wherever quality reveals itself, and t omake the results available to as many people a spossible.

26

Membership of Council and Staff

ChairmanFor purposes of the official record mention should bemade of the fact that Lord Goodman retired fro moffice on 30 April 1972 and was succeeded by M rPatrick Gibson . Tribute was paid to the retiringChairman, and a warm welcome extended to hi ssuccessor, in the last Annual Report .

Counci lThe following members retired from the Council o n31 December 1971 : The Hon Michael Astor, Frederi cR. Cox, OBE, Hugh Jenkins, mtr, Professor FrankKermode, Dr Alun Oldfield-Davies, CBE . In additio nthe following submitted their resignations :Professor Lawrence Gowing, CBE (February 1972),The Earl of Harewood (April 1972) . We extend ourthanks to all those retiring, and are glad to record tha tDr Oldfield-Davies will remain a member of th eWelsh Arts Council, and that Mr Jenkins andProfessor Kermode have agreed to serve as member sof the Drama Panel and the Literature Pane lrespectively .

The Minister appointed the following new membersof the Council :The Marchioness of AngleseyLady Casso nThe Viscount Esher, CBESir William Glock, CBEMr Stuart HampshireProfessor Denis MatthewsThe Hon . Sir Leslie Scarman, OB EProfessor Roy Shaw

StaffMr Ian Lyon took up the new post of InformationOfficer in May 1972 . While the major part of MrLyon's work will be the handling of publicityarrangements for the Council's art exhibitions, he willalso be responsible, under the Secretary-General, fo radvising on the Council's publicity and informationservices as a whole .

HonoursWe offer our congratulations to the following o nwhom Honours have been conferred in the year 1972 :New Year Honours

Hugh Willatt, Secretary-General (Knight Bachelor)Birthday Honour s

The Lord Goodman, Chairman of the Council unti l30 April 1972 (CH )Colonel William Crawshay, DSO, TD, Chairman ofthe Welsh Arts Council (Knight Bachelor)Ronald Mavor, former Director of the Scottish Arts

Council (CBE)Miss Mary Endacott, Records Officer (mm)

ObituariesWe record with deep regret the deaths of Ceci lDay-Lewis, CBE, the Poet Laureate, and ProfessorDavid Talbot Rice, CBE, TD . Mr Day-Lewis served o nthe Council from 1962 to 1967 and was the firs tChairman of the Literature Panel . Professor TalbotRice was a member of the Scottish Arts Counci l(formerly the Scottish Committee) from 1962 to 1970,and served on the Arts Council of Great Britain from1964 to 1967 .

27

Scotland

IntroductionA new opera house financed, a new arts centreopened ; the Scottish National Orchestra's twenty-fift hseason, Scottish Opera's tenth ; a decision to enter theCommon Market and a re-organisation of localgovernment ; and for the Scottish Arts Council, a ne wchairman, a new director, and new offices . Thesehighlights make this report more than a record of th eCouncil's work in 1971/72, for its work in one year i sthe result of past policy and the springboard for polic yin the future . One of its three objectives in its RoyalCharter is `to advise and co-operate with Department sof our Government, local authorities and other bodie son any matters concerned whether directly o rindirectly' with the arts . The Council's work mus ttherefore be seen in the wider context of Scotland' ssocial and economic development both now and i nthe future .

Government and local government are rightlyconcerned with essential services : employment ,housing, education, communications, and theenvironment . But public expenditure on jobs, houses ,schools, roads and amenity makes sense only if asmall fraction - and in spite of Jennie Lee and LordEccles it is still only a small fraction - of publicexpenditure is devoted to leisure : the arts,entertainment, sport and recreation . What ar epeople being educated or working for, unless it is toimprove their social and economic conditions ?And what is that improvement worth, if it i smeasured only in terms of money, houses, cars andtelevision sets? Any arts council, and especially on ewhich is the Government's agency for distributingpublic funds in support of the arts, must believe thatthe arts represent not only the achievement of thepast but a living tradition of experience for ordinarypeople, giving them in varying degrees opportunitie sfor delight, insight, and understanding of life itself ;and must try to see that the artist not only has arole in society but has conditions in which it i spossible for him or her to work in freedom .

That this belief is now widely accepted in the council sof Government and local government and in som eboard rooms, not only in Britain but also abroad ,means that the arts are no longer a luxury for an elit ebut an opportunity for all, no longer the Cinderella o fthe Estimates, but a growth industry as an essentialpart of an acceptable standard of living .

The Scottish Arts Council is not a Council forScottish arts but an Arts Council for Scotland . Beingpart of the Arts Council of Great Britain, the Scottish

Arts Council's policies are directed towards achievin gthe objectives laid down in the Charter, that is tosay : `to develop and improve the knowledge ,understanding and practice of the arts, and to increas ethe accessibility of the arts to the public throughou tGreat Britain' .

Because Scotland is a nation with its own nationa lconsciousness and its own cultural heritage, th eScottish Arts Council has been given autonom ywithin an agreed sum of money to decide its ownpolicies and fix its own priorities . Decisions aboutthe arts in Scotland are taken in Scotland .

Its primary duty is to the public and its subsidies t othe artistic institutions it supports are justified only i nso far as those institutions provide a service to th epublic . While much of the Council's work reflectsand encourages Scottish cultural traditions, art is agreat international language . People who live i nScotland have as much right of access to the art of th eworld as anyone else . The periods of Scotland' sgreatness have been periods when Scotland saw itsel fas part of Europe, or as part of the then know nworld .

But the Council also has a duty, no less importan tfor being secondary, of trying to help artists, forwithout them there would be no art . It should helpartists in Scotland not because they are Scottish bu tbecause they have talent . This the Council has done .The list of Awards to Artists on page 52 record scommissions, bursaries, awards and special grant sgiven to sixty-three individuals - composers,conductors, playwrights, directors, designers, painters ,sculptors, and writers. A great many more - especiallymusicians, dancers, singers, and actors - are helpe dthrough the Council's grants to orchestras, oper aand ballet companies, theatres, arts centres, etc .

Finance and polic yIn 1971/72, Scotland received a basic £1,161,000 fo rrevenue purposes compared with the previous year' s£932,000, being an increase of 2 4 . 6 per cent . Its shar eof the British allocation was 10 . 87 per cent . Inaddition it received £75,000 for Housing the Arts ,£73,862 for Scottish Opera's deficits, and £25,00 0towards the purchase of premises in Glasgow .

The Council is grateful for this increase which wa svaluable in itself and a sign of the growing importanc eof the arts in our society . It enabled the Council t ofinance existing activity at a time of increasing costs ,sustain the momentum of increased activity in some

28

fields; and to help a number of new projects .

With inflation and rising costs, orchestras, opera an dballet companies, theatres, art galleries, exhibitions ,magazines, festivals, art centres, and arts clubs needextra help to continue presenting the arts to th epublic. It is the Council ' s responsibility to try to hol da fair balance being the competing claims of all o fthem, between the performing arts (music, opera ,ballet and drama) and the other arts - painting ,sculpture, literature and film ; between the majo rinstitutions and the little clubs ; between groups andindividuals ; between the main cities and the smalle rplaces ; between the well-endowed and the deprivedareas . Often the choice is not whether to help thi sproject or that person, but to decide how fairly andeffectively to distribute inadequate resources betwee na variety of projects differing in nature, size, polic yand purpose . The Council has to examine need andeffectiveness, artistic merit and personal ability, andmake judgements as objectively as possible on criteriawhich are not always precise and never absolute . I tmust also consider not only what the arts need bu talso what the Council can afford .

One of the Council's special problems at its presen tstage of development is that a dozen major artisti cinstitutions between them absorb over 60 per cent o fits budget . Special steps have to be taken to safeguardthe needs and interests of other applicants, th esmaller places, new projects, experiment an dindividuals .

An analysis of the present budgets of the Council ' sthirteen largest beneficiaries (the national orchestr aand opera and ballet companies, the Edinburg hFestival, six theatres, one arts centre and one ar tgallery) shows that the total running costs of thes eprojects (not of all the arts in Scotland) amount t oabout £2 . 25 million a year . Towards this, they earnat the box office £783,000 (35 per cent), the ScottishArts Council and DALTA contribute £920,000 (4 1per cent), local authorities £367,000 (16 per cent), th eprivate sector £ 177,000 (8 per cent) . In other words,total subsidy was roughly £2 for every £ 1 paid by th econsumer at the box office, and of this subsidy th estate paid two and a half times as much as loca lgovernment and nearly twice as much as loca lauthorities and private sources together .

In fact, the local authority contribution is substantiall ytowards the Scottish National Orchestra and th eEdinburgh Festival (£295,000), and the private secto rcontribution is swollen by the £66,000 raised by

Scottish Opera's emergency appeal . To this extent ,the balance between the three providers for the othe releven projects is even less flattering to local authoritie sand the private sector.

The Council is concerned on two counts . First, theincreasing costs of the arts can only be financed i nfour ways : by (i) earned income, (ii) state subsidy ,(iii) local government subsidy, (iv) support fro mprivate sources . It is not right that the whole burde nof the extra costs should fall on the state . A balancemust be struck between subsidy and what projectsearn (i .e . audiences will need to increase in size and pa yproportionately more) ; and subsidy should be apartnership between government and local govern-ment on one hand and the private sector on the other .

Secondly, the last few years have seen a great increas ein state support . For example, ten years ago when th eCouncil's total expenditure was only £130,000, fiv etheatres received £26,000 or an average of just over£5,000 each . In 1971/72, five theatres received£237,500 or an average of £47,500 each. While theCouncil has been asked gradually to finance a large rpercentage of their annual running costs, it is con-cerned to avoid the stronger influence this could hav eon their affairs. It has rightly resisted the temptationto interfere in artistic policy, but it would much preferlocal authorities and the private sector to do more t ohelp . It is surely healthier for these theatres, and b yanalogy for other artistic projects, that they shoul dhave more than one visible means of support . Atripod is a more stable base than a single pole .

Edinburgh Opera HouseIn August 1971 the Secretary of State for Scotlandannounced the Government's grant of £2 . 25 milliontowards the total estimated cost of £4 . 5 million fora new theatre in central Edinburgh, an offer readil yaccepted by Edinburgh Corporation . ThusEdinburgh's most famous hole should be filled by th elate 'seventies with a new lyric theatre, capable o fhousing opera on the scale of Covent Garden andalso ballet, drama and other entertainments . Thenew theatre will form part of a cultural complex whic hincludes the Usher Hall and the Royal Lyceu mTheatre both of which are to be improved an drenovated .

The effect on the Edinburgh Festival, on the artisticscene in Scotland, and on audiences will be far -reaching. The Council, as adviser to the Secretary o fState, is giving the Corporation its full co-operatio nin the complicated task of revising the brief and

29

Scotland (continued)

planning the future . This is the first new opera houseto be built in Britain for over sixty years, and th eproject when completed will be of national andinternational importance .

Stirling : MacRobert CentreOne of the brightest features of the arts scene inScotland has been the successful opening lastSeptember of the new MacRobert Centre at Stirlin gUniversity .

This attractive modern arts centre was built largelyas the result of a generous gift from a private trus tand with substantial help from the Housing the Art sFund. It is run by the University with financial hel pfrom the University, local authorities, the ScottishArts Council and the Calouste GulbenkianFoundation . It provides a rich diet of music, opera ,ballet, drama, art exhibitions and films, not only onthe campus for the University students and staff, bu talso for the surrounding community .

In spite of the usual teething problems, this enterprise ,directed by Anthony Phillips, has been rewarded withgreat success : in its first six months, its audience shave averaged over 75 per cent of capacity at al levents . Its success has many lessons for ne wdevelopments elsewhere in Scotland .

Inverness : Eden Court ProjectAlthough it is a smallish town (population 30,000) ,Inverness is the capital of the Highlands and attract smany tourists in summer. But its cultural facilities fo rthe performing arts are meagre and need to b eimproved . It is therefore gratifying to note the Tow nCouncil's initiative in planning to build a mixed -programme touring theatre or arts centre seatingapproximately 750 on a magnificent site near th ecentre of the town .

Towards a total cost of £600,000, the Secretary o fState has authorised the Highlands and Island sDevelopment Board to grant £150,000 and it is hope dthe Arts Council's Housing the Arts Fund wil lcontribute a similar sum, provided the balance i sraised locally, and subject to detailed approval of th escheme and certain other conditions .

Housing the ArtsOne of the most urgent problems in Scotland is thequestion of Housing the Arts . Too often the arts hav eto make do with converted or temporary premises .Many of Scotland's concert halls, theatres, artgalleries and arts centres are old-fashioned, obsolescent

or obsolete. Dundee's Repertory Theatre an dGlasgow's main concert hall were burnt down te nyears ago and have not yet been replaced . TheGlasgow Citizens' Theatre is threatened with road-widening, and Pitlochry's Festival Theatre is nearin gthe end of its useful life .

Some new buildings have been built : the MacRober tCentre at Stirling University, the new complexe sincluding a concert hall and small theatre a tMotherwell and Musselburgh, and Edinburgh is tobuild a new theatre suitable for opera, ballet anddrama on the Castle Terrace site . The Arts Counci lhas contributed £465,000 towards eleven arts project sin Scotland between 1965 and 1972. Yet a great dea lremains to be done . In particular Scotland lagsbehind England in the provision of new theatres fo restablished theatre companies .

Present plans and proposals include : a new concerthall in Glasgow ; four new theatres in Glasgow ,Dundee, Pitlochry and Inverness ; a need fo rtemporary exhibition space in Edinburgh an dGlasgow, and for workshop space for artists ; and adozen new buildings or conversion and modernisatio nschemes for arts centres, concert halls, or smal ltheatres, at St Andrews, Dalkeith, Kirkcaldy ,Livingston, Hawick, Airdrie, Cumbernauld, Eastwood ,East Kilbride, Irvine, Kilmarnock and Gatehouse-of-Fleet .

Excluding the proposed cultural complex in Glasgow,the total cost of these schemes amounts to nearly £ 4million at current prices . On the basis of an increasedallocation for Housing the Arts in Britain over th enext five years, the amount available for commitmen tin Scotland might average £100,000 per annum ove rthe period . The Council will, therefore, find it difficul tto contribute to more than a few of these schemes ,unless the funds available for commitment are greatl yincreased .

MusicMusically it was a year of birthdays . The EdinburghInternational Festival celebrated its twenty-fifth, th eScottish National Orchestra its twenty-first, ScottishOpera its tenth, and the Scottish Baroque Ensembl ewas born as a regular orchestra .

The Edinburgh Festival is now so well establishedthat at least a generation cannot remember Edinburg hwithout it, though some of its younger audience wis hthe Festival could be more with it . Out of some 18 0events in three weeks, perhaps the most memorable

30

were the Festival's own production of Rossini' sLa Cenerentola ; Scottish Opera's Die Walkure withHelga Dernesch ; concerts by the Chicago Symphony,Israel Philharmonic and London PhilharmonicOrchestras ; the first performance of Thoma sWilson's Te Deum by the Scottish National Orchestraand Edinburgh Festival Chorus ; exhibitions of th eBelgian Surrealists and Walter Scott ; visits by th eRoyal Danish Ballet, and Bulandra Theatre fro mRumania, the Manhattan Project ' s Alice inWonderland, Prospect's King Lear, and a popula rComedy of Errors from the Young Vic .

By careful husbandry of artistic and other resource sand by increased attendences (81 per cent of capacity) ,Peter Diamand was able to produce a welcom esurplus .

The Scottish National Orchestra celebrated b yorganising in conjunction with Glasgow Universit ya week of open rehearsals and public concerts of ne wworks by Luciano Berio, Iain Hamilton,Thea Musgrave ,Thomas Wilson, and Douglas Young, speciall ycommissioned with the help of the CalousteGulbenkian Foundation . The Orchestra's winte rseason contained many programmes of a celebratorynature, and its autumn visit to Germany and Austri awas a great success . The BBC Scottish SymphonyOrchestra gave many public concerts in Edinburg hand Glasgow, not only while the SNO was abroad ,and won many friends by also playing for Scottis hOpera.

Scottish Opera's tenth season was memorable for th efirst professional performance in Scotland of Wagner' scomplete Ring cycle, conducted by Alexander Gibson ,which proved an outstanding success with the publi cand the critics . The year also included a splendidDer Rosenkavalier (Richard Strauss), a revival o fElegy for Young Lovers (Henze), and a new produc-tion of Rossini's Barber of Seville . The Scottish OperaChorus again performed notably, both in opera an don the concert platform .

This undoubted artistic success was achieved at som ecost . The danger signal was sounded when in Augustit was discovered that the accumulated deficit, whic hhad already risen to £41,000 at the end of March 1971 ,was estimated to increase to £87,000 by the end ofMarch 1972 . Though part of this over-expenditurewas unavoidable, nevertheless it was clear thatScottish Opera could not meet its commitments ,nor could it embark on its 1972/73 season with a nestimated deficit of £60,000 after receiving subsidy of

£216,500 from the Scottish Arts Council and £64,000from Dalta for touring in England .

It is only fair to say that opera is notoriously expensive ,and other British opera companies have run u pbigger debts . Eventually the Arts Council an dthe Scottish Arts Council contributed £80,00 0extra towards the deficits, and Scottish Opera raise dover £60,000 for its next season by an emergencyappeal to industry and commerce . But the problem offinancing opera remains the problem of financing al lthe performing arts : that costs rise at a faster rat ethan income, and the gap to be filled by subsidy an ddonations continually widens . Yet the amount o fsubsidy will always be limited, and no public body canencourage or allow any of its beneficiaries to liv ebeyond their means . In the last resort, a balance mustbe struck between the amount and quality of activityundertaken and the amount of money needed to payfor it .

The Scottish Baroque Ensemble, originally formed b yLeonard Friedman at Ledlanet in 1968, establishe ditself during the year as a major addition to th eScottish orchestral scene . It was much in demand fo rScottish Opera's smaller-scale operas, and also gavepublic concerts throughout Scotland .

Scottish Theatre Ballet consolidated its reputatio nwith a new full-length version of Giselle choreographedby Peter Darrell, his new Tales of Hoffmann fallingjust outside the scope of this survey . The company ' snew associate director, Stuart Hopps, also scored ahit with An Clo Mor, a new ballet with a vocalaccompaniment sung in Gaelic by Dolina Maclennan ,which the Council also toured to the Highlands .

The Council continued its help to the promoters o fmusical events and to composers of new work, an dmade its first grant for the recording of Scottish musi cthrough the Saltire Society .

TheatreIn the theatre, the year was one of consolidation .The Council's major contribution continued to bethe assistance given to the six Scottish repertor ytheatres . Nothing could be healthier than the variet yof approach to essentially similar problems . TheRoyal Lyceum Edinburgh successfully mounte dproductions of new plays by Scottish playwright swith strong Scottish casts, notably Jack Ronder' sadaption of James Hogg's Confessions of a JustifiedSinner, Stewart Conn's The Burning, and BillBryden's Willie Rough . The Glasgow Citizens' and

31

Scotland (c,)rttinucd )

the Close pursued a policy of courageous play selectionand controversial productions with a bright youn gensemble company . From an interesting programme ,perhaps Brecht's Galileo, Buchner's Danton's Death ,Albee's Tiny Alice, and Genet's The Maids should b esingled out. Perth premiered N . C. Hunter's last playHenry of Navarre and George Mackay Brown's firs tstage play A Spell for Green Corn ; while Dundee ,St Andrews, and Pitlochry continued good work intheir own areas .

Most repertory theatres are now the base of a theatre-in-education group providing a professional servic eto the surrounding education authorities . Though therehave been teething problems, most groups are nowfirmly established and all are supported by both theCouncil and the local authorities . Five companiesgave nearly 900 performances in about 300 schools .

Among the smaller theatres and groups, theTraverse continued its policy of doing new plays andacting as host to visiting experimental groups .The Traverse Theatre Workshop in its second yea rreceived increased support, and under Max Stafford -Clark's direction produced such distinguishedexperimental work as John Spurling's In theHeartof theBritish Museum, and StanleyEveling'sOur SundayTimes .It proved even more successful in Europe than inScotland . A new lunch-time theatre - the first i nScotland - opened at the Pool in Edinburgh, and unde rthe energetic direction of Phil Emanuel and Joh nCumming, drew typists and theatre buffs to newplays and baked potatoes .

After a shaky start, the Stage Company Scotland di dsome effective barn-storming with new plays in searchof new audiences in the theatreless areas, and Joh nRidley's more conservative approach enabled th eWest of Scotland Company to achieve some success.The two-man, or rather one-man-one-woman, Mul lLittle Theatre (Dervaig Arts Theatre) felt sufficientl yencouraged by their success in Mull to plan to expandinto Oban this summer .

The Council's schemes of help to individual scontinued. On the advice of a special panel, bursarie swere given to playwrights who were attached forperiods to a theatre . Grants were made to assist theproduction of new plays, and minimum royalties t oauthors of new plays were guaranteed . The Counci ldecided to operate in 1972/73 its own scheme to hel ptrain promising directors, instead of participating i nthe Arts Council's scheme operated from London .

The Council continued under the title Stage Itoco-ordinate, publicise, and subsidise major tourin gproductions of opera, ballet and drama in the No . 1Touring Theatres in Glasgow, Edinburgh an dAberdeen . While opera and ballet are geared totouring, one problem common to the changingtouring pattern in Britain is the difficulty of bookin gdrama shows of consistently good quality . Though avisit by the National Theatre or the Roya lShakespeare Company is welcome, their new theatre sand other commitments make them reluctan ttourers, in spite of pressure on them and on the Art sCouncil to do more . Prospect Theatre Company'sproductions of Hamlet, King Lear and Love' sLabour's Lost, attracted good audiences, but othe rdrama productions fared less well . In general ,Stage I seasons proved reasonably successful, andthe Council is grateful both to the companies and toits local authority partners for their help in arewarding exercise still in its formative phase .

The Drama Committee spent much time deliberatin gthe question of a new major Scottish theatre compan yas recommended in the Theatre in Scotland report.While a decision and announcement was made afte rthe year end, its importance justifies a summar yhere. Briefly, the Council and the Board of the Roya lLyceum Theatre Edinburgh have agreed in principl eto establish gradually over a three-year period aScottish Theatre Company comparable to Scottis hOpera and Scottish Theatre Ballet, to provide fo raudiences in Scotland and elsewhere an internationa lrepertoire of drama at the highest standard, andwithin this concept to explore Scottish traditions b yencouraging, substantially but not exclusively ,Scottish playwrights, directors, players, designers ,technicians and administrators . The essentia lfunctions of such a company and the condition supon which the Council would be prepared to giveincreased subsidy have been defined, and muc hdetailed discussion and planning will take place inthe coming months . It is hoped that the new companywill emerge from the old within three years, and b ecapable of touring in Scotland and abroad, so that i twill be fully established and in good heart by the tim ethat Edinburgh's new major lyric theatre opens in th elate 'seventies .

ArtThe Council's role in art differs from that in othe rspheres . Usually the Council helps other people to d othings, and does not do them itself. As a matter ofpolicy it does not run orchestras, concert halls ,theatres, art centres or festivals, because if it did, i t

32

might discourage others, monopolise taste, spend to omuch, or employ too many people . However there havealways been exceptions, and art exhibitions is one o fthem. Until recently, no other body in Scotlandregularly mounted and toured exhibitions, so thi sis a valuable function, performed centrally, tha tbrings benefits to the public in a score of places al lover Scotland, and indirectly enables them to rea pthe economies of shared costs and services. In future ,it is likely that other agencies will mount and tou rexhibitions, often with the Council's help, and this i sa heathy development .

Twenty-one exhibitions, including four fro mEngland, were shown in twenty-four differen tbuildings in eighteen towns - a total of fifty-seve nshowings during the year . In scope, these exhibition sranged from the medieval to the avant-garde . TheCouncil celebrated Albrecht Durer's 500thbirthday with an exhibition of prints from Scottishcollections that drew crowds . The Jessie M. Kingexhibition, completing the series of exhibition sdealing with art in Glasgow at the turn of thi scentury, attracted two groups of people - those wh oonce knew Jessie King and younger people dressed i nclothes resembling those in her work . A large sho wofOrchardson, and the Belgian Contribution t oSurrealism mounted for the Edinburgh Festival ,brought disparate aspects of the past to life ; wherea sseven exhibitions dealt with contemporary work :Art Spectrum, Awards to Artists, Gerald Laing, NewYork Pop Prints, Scottish Realism, Art from th eFaroe Islands and Locations Edinburgh . CoiaCaricatures (another Festival exhibition) neatl ycontrasted with The World of Bud Neill, showedthat the cartoon and the comic strip have a place i nart and a following among the public . Exhibitions o fKatie Horsman Pottery, Archie Brennan Tapestry,and Wemyss Ware showed that art and craft are one .Two imports were particularly rewarding : the ArtsCouncil's shows of the smaller sculptures of HenryMoore and Indian Paintings from Court, Town, an dVillage . Two Scottish Exhibitions, Jessie M . King,and D. O. Hill and Robert Adamson, were exportedand shown in London .

This brief survey emphasises the catholic choice o fsubject-matter : a rough balance is struck betwee nancient and modern, painting and scuplture, art an dcraft . Lest anyone thinks the list parochial, it include swork from America, Belgium, England, the Faroes ,Germany and India as well as from Scotland .

From the exhibition-mounting function, it is a short

step to the Council's operating its own art gallerie sin Edinburgh and Glasgow . In Edinburgh, the ne wgallery in Charlotte Square, and the snack bar in th ebasement, attracted many visitors throughout th eyear. Now that the offices have moved `over th eshop', members of the office staff are in daily touc hwith the public.

In Glasgow, the Council a few years ago leased a nart gallery in Blythswood Square, formerly used b ythe Glasgow Lady Artists Club who continued t ooccupy the rest of the elegant Victorian buildin gwith a Charles Rennie Mackintosh door . Althoughthe art gallery was quite successful, it never seemed toclick with the public, possibly because it was run b yremote control. When the Club found it could n olonger afford the premises, the Council decided to buythe whole building, and set up a working party t orecommend the best way it could be used to stimulatea greater interest in the arts in Glasgow . A publicmeeting held in the gallery produced a great man ygood ideas, not all of which could be realised in thespace available .

The Council has now decided to develop th ebuilding as an arts centre, primarily but no texclusively for the visual arts ; a resident director i sto be appointed ; repairs and conversion are unde rway ; and it is hoped to re-open early in 1973 with awider programme of exhibitions, lectures, recitals ,films and multi-media events . The building (as yetwithout a name) will have a restaurant and bar, an dshould become a lively meeting place for artists an dthe public . This exceptional step has been taken bythe Council to meet a present need in Glasgow .The position will be reviewed in three or four yearstime when it will decide whether or not to hand overthe operation of the centre to an independent trust.

The Council also continued its policy of grant-aidingother ventures, notably exhibitions at the Demarcoand the New'57 Galleries in Edinburgh, th eCompass Gallery in Glasgow, and a number of otherart galleries or temporary exhibitions throughoutScotland . Many theatres now show regular exhibitions ,and some works in the Council's own collection arelent for showing in public places . Among the man ybodies receiving grants was the new Weavers 'Workshop, which together with the Printmakers 'Workshop and the Ceramic Workshop, make sEdinburgh a centre for the applied arts .

As a rough guide the Council's budget for the arts i shalf for exhibitions, a quarter for grant-aid, and a

33

Scotland (conlinucd )

quarter for artists and special projects includin gfilms, lectures, and equipment .

One of the most important matters considered durin gthe year was the review of policy undertaken by theArt Committee, which resulted in a policy paper beingaccepted by the Council . It is difficult to summarisethe conclusions without distorting the whole . TheCouncil decided to confirm that its duty is toward sthe public as a whole and towards raising publi cinterest and standards in art, and this might no talways coincide with direct support of artists livin gin Scotland . The lack of suitable space in Edinburgh,and to a lesser extent in Glasgow, for housing majo rloan exhibitions remains a serious concern of theCouncil, and a number of such exhibitions have bee nlost because of it . Representations were made to th eSecretary of State for Scotland, and discussions hel dwith those concerned . Methods of giving awards toartists were reviewed, and awards are now fewer ,larger and unconditional, based on the Art Panel' sassessment of the achievement or potential of theartist . The Public Sculpture Scheme has beenreplaced by a Commissions Fund, available toward sworks in all media in public places, which may b esuggested to or initiated by the Council .

The Council, recognising that some artists and youn gpeople value creative activity, and the artistic process ,more than the art object produced by it, has alsoagreed in principle a proposal to establish an art sworkshop centre, meaning an equipped space i nwhich the arts in various media may be practise dand exhibited. The search for suitable accommodation ,perhaps in a converted warehouse, has begun .

Literature and fil mThe Council's help to literature continues to expand .Five years ago the Council devoted a mere £2,000 t opoetry only . Last year, it spent £23,000 on literatur eand in the current year the amount availabl eincreased to £38,000. Welcome though these increase sare, they represent only a small fraction of theCouncil ' s resources . Compared with the million sspent on public libraries, the Council ' s support o fthe living writer appears modest . Nevertheless thereare signs that its increasing help is both needed an dappreciated .

Over half the budget for literature was devoted totwelve publication awards, seven bursaries fo rauthors, and ten grants to publishers (for details ,see page 53) . The Creative Writing Fellowships atEdinburgh, Glasgow and Strathclyde Universities

were maintained, and grants were made to fiv emagazines which publish work by a great man yScottish writers. It was a good year for Gaelic . Threedistinguished Gaelic poets from Eire were invited t ogive a series of readings in Scotland ; a grant wasgiven to Claddagh Records of Dublin to produce adisc of Sorley Maclean reading his poetry in Gaeli c(the second record in an annual series) ; grants toGairm and the Gaelic Books Council were substan-tially increased ; and a Gaelic book featured amongthe publication awards for the first time .

The Council has initiated a series of films on Scottishwriters . The first film, on Neil Gunn, was made i nassociation with Educational Films of Scotland, and asecond, on Hugh Macdiarmid, was started and shoul dbe completed shortly . Another film sponsored by theCouncil - on Jack Coia and Partners the architect s- continues the Council's series on Scottish artists .While increasing costs limit the number of films whic hthe Council can help to finance, nevertheless this is a nincreasingly important part of its work . It helps put thewriter or artist over to the public, it helps film-makers ,and it provides a valuable educational tool o rarchivalrecord .

Tour sIt is sometimes said that the Council devotes to omuch of its attention and funds to the big cities .While 60 per cent of the population live withi nreasonable reach of the main towns in the centra lScottish belt, and the professional performing art sare largely an urban sport, nevertheless the Councilcontinued to co-ordinate, publicise and subsidis esome 300 events promoted by about ninety clubs an darts centres throughout the nation . This work, unsungand unglamorous though it may appear, require sjudgement, care and detailed planning in conjunctio nwith voluntary bodies and local authorities . Yetwithout it, the artistic diet of those who live in placeslike Orkney, Oban or Stranraer would be blea kindeed .

From the fifteen tours sponsored by the Council, i tis possible to give only a selection . The Far Eastcontributed Won-Kyung Cho in Korean Theatre an dDance, and the Young Chinese pianist Enloc Wucaptivated all her audiences . Among chamber musicgroups, the Stradivarius Trio with Werner Giger fro mSwitzerland and the Early Music Consort fromLondon were outstanding . The Ulster Orchestra andthe Northern Sinfonia gave concerts in places as fa rSouth as Hawick and North as Kirkwall . Amon ghome-grown companies, Callum Mill's tour in The

34

Bailie, Pitlochry Festival Theatre's production ofMoliere's Tartuffe, and Scottish Theatre Ballet'sAn Clo Mor, deserve special mention .

The Council continued its policy of asking clubs tochange over from direct promotion to independen tsubsidy . Fifty-four clubs were subsidised on the ne wbasis, fourteen of them for the first time, and b yMarch 1973 all the rest will have followed suit .

The newcomers to the artistic scene received grantsfor their administration, one of them for the first time .The Association of Arts Centres in Scotland provide svaluable services to, and exchange of informatio namong, its members ; and the Scottish CivicEntertainments Association is a consortium of localauthorities to co-ordinate tours of the arts andentertainment .

The Future

,Inevitably an annual report is largely concerned wit hthe past, but the Council is concerned with the future .The future holds many problems but also man yopportunities . The arts are changing rapidly an dsociety's attitude to them is changing rapidly.Assumptions which were valid ten years ago are n olonger valid . The values of the young are not thesame as the values of their parents or of thei rgrandparents . Artistic institutions are like restaurantsor football teams : they have their ups and downs ,but generally artistic institutions change thei rmanagers less frequently . Institutions are useful butnot more important than the people that compos ethem. Those who accept change realistically have thesecret of perpetual youth ; others all grow old together .The Council itself will continue to review and reviseits current policies to suit changing conditions .In particular it may well re-examine its role as on eagency among many which support the arts, andperhaps move into a better or closer partnershi pwith local government in some form of regiona ldevelopment .

Peopl eDuring the year, Lord Balfour of Burleigh succeededLewis Robertson as Chairman of the Council . Coli nChandler, David Donaldson and Alan Reiach retiredfrom the Council at the end of 1971 . Though all ha dgiven valuable service, Colin Chandler's contributio nhad been outstanding. He had served for a total o ffourteen in the last sixteen years, and as Chairman o fthe Drama Committee had been responsible for theCouncil ' s Report on the Theatre in Scotland and theintroduction of theatre-in-education schemes at five

theatres . His knowledge of the professional theatreand his understanding of its problems will be hard t oreplace. James Arnott and Harry Jefferson Barne sjoined the Council in January 1972 .

The death of Professor David Talbot Rice in March1972 was deeply regretted by all who knew him an dhis work for the arts in Scotland and elsewhere .His work as a scholar and teacher was matched b yhis valuable services to the Council and its Ar tCommittee throughout the'sixties .

Ronald Mavor, who resigned in September 1971 ,had been Director since 1965 . He had been responsiblefor a particularly creative period in the life of th eCouncil, and many of his innovations will continueto bear fruit in the years ahead . He was made CBE inJune 1972, and was succeeded as Director byAlexander Dunbar .

In December, the Council moved its offices t oCharlotte Square and sold its old offices a tRothesay Terrace, Edinburgh .

35

Wales

The objects of the Arts Council of Great Britain havebeen well publicised . Even so, there are expectation sof the Welsh Arts Council which exceed these objects .The Council is required by many, not only to suppl ythe arts but also to devise, and provide for, a nationa lplan for the arts .

From inception, the Welsh Arts Council has used it sfunds to increase the number of artistic events takingplace in Wales by offering financial and other hel pwhere local initiative and standards warrant .Regularly, this has meant introducing professiona larts from outside Wales. At the same time, the Councilhas contributed substantially to the establishment o fpermanent arts organisations within Wales .

The Council has repeatedly pointed out that to catchup artistically on other European countries it i sessential that Wales establishes a fully-engagedopera company with adequate performing facilities ,a high quality national theatre in both languages, afull size national symphony orchestra and a majo rart exhibition centre . None of these objectives ha sbeen realised, although in artistic terms the Wels hNational Opera Company had been recognised as a nimportant integral part of the opera hierarchy in th eUnited Kingdom.

The overall grant for the Welsh Arts Council hasaccelerated from £30,000 in 1953/54 (the first year o fautonomous grants) to £140,432 in 1963/64 and£845,000 in 1972/73 . It is likely to reach £1 millionwithin the next two years .

Yet, despite this recent large-scale investment in th earts, these comparatively modest objectives have stil lto be achieved . It can be argued that inflation has cutdeeply into these grants but the rate of increaseclearly far out-paces increased costs .

The failure to make satisfactory progress towardsthese objectives is due unquestionably to the lack ofinvestment on a similar scale by other potential art spatrons . Contributions from local authorities ar every uneven and in total are an imperceptibl epercentage of permitted limits . Industry's record i sderisory .

Inevitably, the question must be asked whether th eCouncil, as virtually the sole purveyor of the arts i nWales, is right in still pursuing even these limitedobjectives .

Everywhere the arts are faced with dilemmas . The

most ominous of these is the growing split betweenlarge-scale, expensive traditional arts (which in effectmeans the re-presentation of recognised masterpiece sand to a lesser extent, contemporary protractions oftraditional forms) and those socio-educationa lartistic enterprises which are small scale, inexpensive ,often multi-media, favoured by youngergenerations .

It is a common cry at present that Wales is stirrin gand re-gaining its old confidence and self-esteem . It i sreasonable to expect that this renewed national prid ewill demonstrate itself in artistic expression .Deprived of large-scale professional arts institutions ,this expression could find itself directed towards thenewer international artistic manifestations, possibl yat the expense of the old .

Welshmen with an appetite for the arts must indicatevery soon what they want and how they propose t opay for it . It is not for the Welsh Arts Council to saywhat they should or shall have .

Occasionally there are signs of initiative . With th eunique exception of the art centre project in Mold ,Flintshire (which itself will have a significan teducational content), the earliest signs - positive i nterms of objectives and investment, have come fro mplaces of higher education . By implication this shouldlead to radical policies for the arts with an increasin gdemand for the new. But the arts, especially the newarts, are not isolated from the influence of othermedia. The location of the promotional bodies fo rthese (e .g . film, crafts and especially the newtechnological media) is London, and Wales tends t oreceive the fag-end of attention from them . Alway sremote, they affect Wales but are never co-ordinatedwithin Wales and the potential impact of thei rcollective resources consequently is diminished .Whilst the Council endeavours, as the followin gdepartmental reports indicate, to co-ordinate outlet sfor creative expression in several media, the time i sprobably ripe to prompt relevant promotingauthorities to join with the Council in co-ordinatingthese cross-fertilising activities within Wales .

ArtMeetings of the Art Department held during th ewinter of 1971 with curators, secretaries of ar tsocieties and heads of departments in museums an dgalleries in Wales, both major and minor, effectivel ytaught the officers that there is still a big demand forthe exhibition programme and services for th evisual arts offered by the Welsh Arts Council . At the

36

same time as local initiative is being encouraged anddeveloped, it is proving necessary to budget generouslyfor the provision of artistic activity . In 1971/72, abou ttwo-thirds of the total Art Allocation were assigne dto the Council's exhibition programme, to the Ar tFilm tours, and to various projects and event sprovided by the Council . Less than a third went tosupport artists' activities, filmmaking, societies ,festivals, public organisations and publishers .

The exhibition programme, as usual, predominated :of the sixteen exhibitions shown in Wales, six werenew, part of the year's planned activities . ArtSpectrum Wales - nominally organised by theNational Museum of Wales - was the first to open ,a controversial presentation of (finally) ten Wels hartists. It travelled across Wales to the chief displa ycentres, as did the six other nationwide exhibitions o fsimilar title, the first-ever series of exhibitions t oshow what was happening, artistically speaking, i neach region . Recording Wales in Maps was alsounique, being the first in the Recording Wales seriesto consist of three exhibitions, each opening atsix-month intervals ; the whole constituted anaesthetic survey of cartography of the Principalityfrom the first printed map in the sixteenth century tothe sidescan sonar plan of today . Again, it was ashared venture with the National Museum of Wales ,the Keeper of Geology choosing and cataloguing th emaps. All three parts of the total exhibition will ope ntogether in 1972/73 .

For the Royal National Eisteddfod of Wales a tBangor, the Welsh Arts Council and NationalMuseum of Wales devised Early Christian Monumentsof Wales, a collection in reinforced fibreglass o freproductions of the most famous and remarkabl eCeltic stones in the country . The firm who mad ethe casts and moulds developed a special techniqu efor a surface so like the originals that some peopl ethought they had been transplanted to the Eisteddfo dField . This exhibition was the first to bring togethermagnificent casts of the choicest Welsh monuments ,and to an audience of many thousands powerfulevidence of a great heritage .

Scoop Scandal and Strife opened in the Nationa lMuseum of Wales in August, an exhibition presentin g`a view of the development of journalistic photograph yand its use - day after day - in that most familiar ofmass media, the newspaper' (Ken Baynes, introductionto catalogue) . Among its epoch-marking photographs ,and actual newspapers from John Frost ' s collection,was a picture-receiving machine bringing up to the

minute news and photographs right into theexhibition itself.

The largest exhibition of the year was Worship,third in the Art and Society series, setting out to`make clear something of the role of art in religiou sthought, ritual and teaching' . Drawing material fro mdifferent cultures all over the world, the exhibitio nwas divided into sections - past, present and future -marked by different colours . At the National Museu mof Wales it attracted nearly 30,000 visitors, whosereactions to the display, presentation and publicisin gof the exhibition the Welsh Arts Council asked in aquestionnaire detachable from the catalogue . LikeWar and Work, Worship went outside the Principalityand was shown also in England .

Of the continuation exhibitions from the previou syear, Snap!, which had opened in March in th eNational Portrait Gallery and then tried to open i nNewport, created the most public interest . Despiteobjections from more than one venue to showing thecomplete exhibition, it appeared twice in Wales, a tthe University Colleges of Cardiff and Aberystwyth .Also touring Wales were 50-Odd Posters, a highl yoriginal collection from the Royal College of Art ;Industrial Devices, of perennial fascination ;Recording Wales II : Chapels, still in demand o nboth sides of the border.

Nine exhibitions were shown in the Welsh Art sCouncil Gallery, Cardiffand Newport Colleges of Ar tpresenting ceramics and prints, and first yea rexploratory work, respectively. From UniversityCollege, Aberystwyth came an exhibition of work b yMichael Pennie, the Gregynog Fellow ; from theArnolfini Gallery, Tom Phillips and Matrix; with theArnolfini the Welsh Arts Council put on aninformation event entitled Air/Space/APG/Pavilionin the Parks, and consisting of photographs, literature ,films and discussions relating to those organisationsconcerned with the provision of artists' studios an dthe commissioning of artists' works .

The Arts Council of Great Britain showed fou rexhibitions in Wales, two of which were toured by th eWelsh Arts Council : Painting 1964-67 and Still Life .Piscator was shown at University College, Cardiff ,Kandinsky at Cwmbran and Hepworth at Bangor ;and the pink balloons and space structures o fBlow Up 71 took over Cardiff Castle Green duringa sodden Whit weekend, giving pleasure to innumer-able screaming children and some intrigued adults .Four groups of artists brought their diverse

37

Wales (continued)

inflatable/coloured/culinary/musical talents toWales for this occasion .

As in previous years, the Art Department toure dtwo Arts Council of Great Britain Films on Art unitsin Autumn and Spring . Showings were increasinglyin demand, despite the winter power cuts an dconsequent postponements . To judge by the choiceof programme, Wales is a country of frustrate dpotters and devotees of Matisse .

The reverse of the Art Department 's coin - so tospeak - is support for independent initiative . Thi syear Pavilions in the Park was the largest single eventaided by the Art Department . Instigated by two abl eand enthusiastic sixth-formers in Swansea, soo njoined by a likeminded secretary, the project inSingleton Park, near the sea, was marked by excellentadminstration, imaginative leadership and a super bopening - despite thigh-deep floods, some tempera -mental personalities and one entirely unsuccessful ,though purpose-built and prizewinning Pavilion .The worthwhileness of the scheme was indicated bythe reaction of the children who were attracted t othe heterogeneous groups of artists and pavilions . Theorganisers reported that the site became `a "centre "for the thirty or so youngsters who spent almost al lof every day (there) . Their enjoyment alone wouldhave been justification enough for the whole scheme . '

A continuing development in 1971/72 was th esupporting of various publications, chiefly i nconnection with the major exhibitions . LundHumphries brought out Worship at the same tim eas the exhibition, and complementing it . Third inthe series matching the Art and Society exhibitio ntitles, this was written by Ken and Kate Baynes andreceived very favourable reviews . Later in the year ,Lund Humphries published Scoop, Scandal andStrife, as a result of the exhibition, echoing th eWelsh Arts Council's belief in photography as an artform to be given its rightful place among others .

The more traditional forms of support were uphel d- awards to artists, grant aid to festivals and societies .The Design Grant scheme expanded during the year ,five designers or design firms and four publishers an dother clients receiving fees for the professiona lemployment of designers . Of the grants administeredas Commission Aid, the most interesting were toward sa sculpture by Garth Evans at Ebbw Vale and a watersculpture at St David's College, Lampeter . WilliamWilkins received a bursary to carry out drawings inBrittany . The first Commission Award ever to be

made to a photographer by any Arts Council went t oDavid Hurn, Cardiff-born member of Magnum, for aseries of photographs of Wales . Ivor Roberts-Jone swas commissioned to provide a portrait head o fGwyn Thomas ; and Terry Setch, a painting forColeg Harlech .

With the inviting onto the Art Committee of a BB Crepresentative, £ 1,000 was allocated for the first tim efor the making of television films in co-operation wit hBBC Wales . The first to get under way was a surveyof Welsh industrial archaeology, before too much i slost . Five film-makers, both student and fully fledged ,also received aid . The Art Department appreciate sthat film-making is an expensive business, and is eagerto encourage activity in this field .

Other recipients of Grant Aid were the Royal NationalEisteddfod of Wales (for the design of the Art an dCraft pavilion at Bangor), Cardiff University (for anexhibition of work by Henrik Gotlib), Nationa lMuseum of Wales (towards an exhibition of Arthu rHughes' work), the South Wales Group for an openexhibition. This last was an interesting venture, beingthe handling and administration of the Welsh ArtsCouncil 's annual open exhibition as one of theGroup's : Richard Demarco, Terry Frost and Kennet hArmitage were the selectors, and eleven works wer eacquired for the Welsh Collection with the £ 1,00 0purchase money made available by the Council .One of the newest and most significant recipients ofaid was Chapter, the new Cardiff Arts Centre whic hopened in March with a month's festivities . Pete rDockley 's disintegrating wax and grain sculpture sformed a notable item among these, and the Ar tCommittee has pledged itself to support the exhibitio nand art event programme at Chapter .

The absence of a good commercial gallery in Cardiff,since the demise of the Howard Roberts Gallery las tyear, became increasingly noticeable . This with othe rfactors has decided the Art Department to expandconsiderably its services to artists . The indicationsare that a number of radical developments in theArt Department's provision and support may wel ltake place in consequence .

DramaUnlike the Council's other subject committees, theDrama Committee is not involved in the direc tprovision of activities, and the work of the Depart-ment is almost exclusively concerned with assisting anumber of autonomous bodies to realise thei rindependent aims .

38

Although the Council's drama allocation of £102,00 0has increased by only 2 per cent over the previous yea rit is encouraging to note that in range and numbe rthe activities supported have increased considerablyduring 1971/72. The Welsh Theatre Company, i nparticular, broke important new ground in presentin ga tour of Uncle Vanya and A Pig in a Poke for Dalta :these productions were seen in Cardiff, Swansea, fiv eEnglish and one Scottish theatre .

The number of new Welsh and Anglo-Welsh play swhich have received a first professional performance i nWales is noteworthy . The Grand Theatre, Swansea ,gave the premiere of Hugh O'Connell's play, TheDolls of Swansea, as part of the 1971 RepertorySeason . At the Casson Studio Theatre, The WelshTheatre Company presented : Celtic Fire by G. O. M.Jones ; Buzz Buzz Critch Critch by Ewart Alexander ;Happy Ever After by Elaine Morgan ; and OverGardens Out by Peter Gill . The Welsh languag eCompany presented three new one-act plays by JohnGwilym Jones, under the title Rhyfedd y'n Gwnaed,at the Bangor National Eisteddfod, and on tour ;also a new play for children, Nid Aur yw PopethMelin by Eigra Lewis Roberts . With the Council' shelp the Company commissioned new plays fromTom Richards, in Welsh, and from Gwyn Thomasin English .

At the end of the year, a new company, Y Theat rDdiethr, mounted the first professional production ofDinas Barhaus by W . S . Jones in a double bill withY Pry by Michael Povey. Two other new productionunits should also be mentioned : the Cardiff Open Ai rTheatre, marking its second season in Roath Parkwith The Thwarting of Baron Bolligrew ; and theCambrian Theatre Company whose production o fThe Duchess of Malfi toured in South Wales .

During the year Miss Branwen Iorwerth took par tin the Arts Administration Course arranged i nconjunction with the Arts Council of Great Britai nat The Polytechnic of Central London . Miss GillianAdams took part in the Arts Council of Grea tBritain 's Training Scheme for Theatre Administrators .Mr Peter Sandeman of the New Theatre staff spenta short period of secondment at the AlexandraTheatre, Birmingham .

Extensive improvements to the facilities at the Ne wTheatre have been appreciated by members of thepublic and visiting companies alike : the third phaseof the Trust's refurbishing scheme has now bee ncarried out, including the completion of the full

counterweight system, new seating throughout th eTheatre and the entire redecoration of the auditoriu mand the exterior of the building .

Last year's report mentioned that work had begu non three new theatre buildings : at the Universit yColleges in Cardiff and Aberystwyth, and at Cole gHarlech : these are nearing completion and will ope nin the coming year . University College, Bangor, andLlanelli Borough Council must now be added to th elist of builders, while Flintshire County Council ar eproceeding with plans for a comprehensively designedArts Centre in Mold, the first phase of which wil linclude both proscenium and studio theatres .

These are the first purpose-built theatres in Wale sfor half a century and for the most part in localitie swhere no theatre has existed before : they must not beallowed for shortage of funds to fall short of thei rvery modest ambitions ; but neither can they b eexpected to produce a durable theatrical traditio novernight . Finance apart, it will not be easy toestablish these theatres at the professional level whic hmost concerns the Council, but it is very much to behoped that the authorities which have contributed t othese sophisticated facilities will now be equallygenerous in assisting the professional practice of th earts in their new buildings.

The Court of Governors of the National Theatrehas accepted Lord Chalfont's proposal that a Nationa lCentre for the Arts in Cardiff is more appropriate t opresent-day needs than a theatre building alone .His new appraisal of the scheme links it to the lega lentity and original aims of the St David's TheatreTrust of which he has become Chairman . A jointworking party, also under his chairmanship, has beenset up with representatives from the Trust, CardiffCity Council and the Welsh Arts Council . The Cour tof Governors will continue to act in an advisorycapacity .

Housing the artsA commitment of £20,000 was made for a new theatreat University College, Aberystwyth . Two grants werealso made towards improved facilities :

Borough of Barry : Memorial Hall

1,500Barmouth Community Centre : Dragon Theatre 500

LiteratureThe Literature Committee spent this year, with an

39

Wales (CO17tinurcl j

allocation of £54,000, in an attempt to improve itspolicies and develop those projects already establishe dduring the first three years of the Welsh Arts Council' ssupport for literature .

As its work increased, the Committee found i tnecessary to delegate responsibility for some of it sprincipal activities to a number of specialist Panel s

The Production Grants Panel, in a review of thegeneral principles and detailed procedures involve din the award of grant-aid to publishers, recommende dsubsidies totalling £4,465 to six publishers in thepublication of eighteen titles, of which nine were i nWelsh and nine in English . These books - mainl yvolumes of poetry, short stories, novels, critical essays ,plays, biography and anthologies - were consideredby the Literature Committee to be of creative literarymerit, the only category eligible for the Council' ssupport, and each was supported on condition srelating to the author's contract and the book'sproduction standards, and on the advice of independentreaders . The Council considers this insistence o nprofessional standards and procedures as one of it scontributions to the development of the publishin gindustry and the amelioration of the writer's lot i nWales today .

The volumes which received the Council's productio ngrants during 1971/72 were : Wyn Griffith : Spring ofYouth, Cyril Hodges : Coming of Age, Gillian Clarke :Snow on the Mountain, Evan Gwyn Williams : TheClown, Jeremy Hooker (Ed .) : Poems'71, RuthBidgood : The Given Time, Roland Mathias : Absalomin the Tree, John L. Hughes : Tom Jones Slept Here ,Alun R. Jones and Gwyn Thomas : PresentingSaunders Lewis, Gwyn Thomas : Amser Dyn, J. E .Caerwyn Williams : Ysgrifau Beirniadol VI, BobiJones : Allor Wydn, James Nicholas (Ed .) : Cerddi'71 ,Rhydwen Williams : YChwyldro Gwyrdd, T . J .Morgan : Diwylliant Gwerin, Dafydd Rowlands :Meini, Bryan Martin Davies : YGolau Caeth, DerecLlwyd Morgan : Barddoniaeth T. Gwynn Jones .

The Periodicals Panel was responsible for advisin gthe Literature Committee that the Council's patronageof literary magazines should be increased to f 10,78 0during the year . Ten periodicals, six in Welsh and fou rin English, received grant-aid towards their productioncosts, editors' fees and fees to contributors, and anumber of smaller magazines were also helped . Themagazines published with the Council's suppor twere : Barn, Taliesin, YGenhinen, YTraethodydd ,YCardi, Llwyfan, The Anglo- Welsh Review, Planet,

Poetry Wales and Second Aeon .

The Bursaries Panel considered applications fro mwriters who wished to be released from their usua lcircumstances in order to undertake the writing o fspecific works. From among a large number o fapplicants whose work was read by independentreaders, sixteen writers in Welsh and English wereawarded bursaries totalling £9,500, of whom fou rreceived travel bursaries . The recipients were : Pete rPreece, T. Wilson Evans, Gareth Alban Davies ,Marion Eames, Rhydwen Williams, Caradog Prichard ,John Rowlands, Sam Adams, Gwynne Williams ,R. Bryn Williams, Mary Hughes, Rodney Hyde -Thompson, Bryn Griffiths, John L . Hughes, RonBerry and Alun Richards . The Panel also began t ore-examine its aims and policies and a new scheme fo rthe award of bursaries was planned for implementatio nin the present financial year.

The Council's annual Prizes were awarded this yearto six writers whose books, published during 1971 ,were considered by the Literature Committee to be o fexceptional literary merit . They were Pennar Daviesfor Y Tlwsyn y Lotws (Dryw), Bobi Jones for AllorWydn (Dryw), D. Tecwyn Lloyd for Lady Gwladys aPhobl Eraill (Penry), Emyr Humphreys for NationalWinner (Macdonald), Roland Mathias for Absalom inthe Tree (Gomer) and Richard Jones for The Toweris Everywhere (Macmillan) . The Prizes were of £300each but D. Tecwyn Lloyd and Roland Mathia sagreed to forego the monetary award because the yhappened to be members of the Literature Committee .Two major Prizes of £750 each were awarded to Joh nGwilym Jones, the dramatist, and to Glyn Jones, thepoet and short story writer, in recognition of thei rdistinguished contributions to the literature of Walesin Welsh and English respectively .

A number of `direct activities' administered by theLiterature Department continued successfully durin gthe year .

Under the Writers in Schools scheme, which wasorganised by the Council in co-operation with th eArts Associations in the northern and western countie sand with the local education authorities in the res tof the country, a total of 108 visits took plac eduring 1971/72 .

In the `Writers of Wales' series published by theUniversity of Wales Press on the Council's behalf, afurther three monographs were published on W . H.Davies, Arthur Machen and Idris Davies, and in th e

40

` Poets of Wales' series the work of four contemporar yAnglo-Welsh poets was recorded for the Council byArgo Records . Two more records appeared in th eYsgol a'r Aelwyd (Recordiau'r Dryw) series o fmodern Welsh writers, with the Council's support ,and a recording of The Green Desert (CambrianRecords), songs and poems by Harri Webb, wa salso sponsored .

At the National Eisteddfod, in addition to the annua lprogramme Pedwar Bardd and its supervision of thedesign of the Literature Pavilion, the Literatur eDepartment organised a series of readings, in th eopen air, of specially commissioned poems in a nattempt to revive the old tradition of publi cdeclamation by poets . The poets taking part in thi sexperiment, known as Clywch y Beirdd, were DafyddRowlands, Bryan Martin Davies, Rhydwen Williams ,Eirian Davies, Gwilym R . Jones, W. Rhys Nicholas ,Vaughan Hughes, Euros Bowen, James Nichola sand Pennar Davies .

The Council also commissioned six Anglo-Wels hpoets to write poems for radio lasting half an hou rwhich were broadcast by BBC Wales in the series ` ACommand of Words' (producer Lorraine Davies) i nFebruary and March . The poets were Gwyn Williams ,Roland Mathias, John Tripp, Harri Webb, Raymon dGarlick and Leslie Norris .

Other poetry readings which received the Council' ssupport were `Poetry International '7 P (Poetry BookSociety) at Cardiff, in which the Welsh poet Euro sBowen read in the company of Yehuda Amichai ,T . Carmi, D . J . Enright, Ernst Jandl and DeniseLevertov, and another at the Book Bang (Nationa lBook League) in London at which Derec Llwy dMorgan, Leslie Norris and John Ormond represente dWales in a programme of commissioned poetry .

Several projects were discontinued during the year .

The Dial-a-Poem service closed down in February ,an average of 580 calls a week having been receive dduring the two years since its inception . Two recordsof a selection of the poems read on this service wer epublished .

It was also agreed that the annual Book Desig nReview should be abandoned and that the Wels hBooks Council should be offered financial assistanc ein the establishment of a Design Department whic hwould represent the Arts Council's continuing interestin the publishers ' design and production standards .

The Welsh Books Council now has three Department swhich were created at the Arts Council's request an dwith its financial assistance, the principal officers o fthe Editorial and Publicity Departments having take nup their duties during the year . Again this year thetwo Councils co-operated in the organisation of theNational Book Fair and Festival and its officer scontinued their researches into the state of th epublishing industry in Wales, especially into theproblems of distribution and sales . It is already clearthat the Welsh Books Council is successfully assumingthe role of a central agency with an interest in al laspects of the publishing process in Wales and th eWelsh Arts Council hopes to maintain its suppor tfor this body to an extent commensurate with it spatronage of major national institutions in th eother arts .

MusicThe Council's expenditure on music in 1971/72amounted to £88,500 and, in addition, subsidiestotalling £22,500 were offered to music festivals .The Arts Associations in North and West Wale ssupplemented these monies through their co-operatio nwith the Council in arranging and financing orchestra lconcerts and opera performances .

The BBC Welsh Orchestra took part, for the firsttime, in the season of orchestral concerts arrangedby the Council in centres throughout Wales . Theinvolvement of the orchestra was the result of th epublication of the `Report on orchestral resources i nGreat Britain 1970' . This report recommended tha tthere should be close co-operation between the ArtsCouncil and the BBC in the whole field of orchestra lmusic and the series of concerts arranged by th eCouncil for the BBC Welsh Orchestra was regarde das the first development of such co-operation i nWales . The orchestra, which normally appears withforty-four players, was augmented to seventy so thatlarger scale works could be included in th eprogramme .

Other orchestras to visit Wales in the Council' sprogramme of concerts included : Royal PhilharmonicOrchestra (Charles Groves, Radu Lupu, Wels hNational Opera Chorus), Halle Orchestra (MauriceHandford), London Chamber Orchestra (Anta lDorati), Prague Radio Symphony Orchestra (VaclavSmetacek, Vaclav Snitil), New PhilharmoniaOrchestra (Wyn Morris), London Symphon yOrchestra (David Atherton, Joaquin Achucarro )and I Musici di Roma .

41

Wales (cnnlimied)

The Council is now acknowledged as the majo rpatron of the living Welsh composer . Substantia lamounts of money are spent on commissioning ne wworks and Welsh works were included in th eprogrammes of the orchestras mentioned above .These included Daniel Jones' new Seventh Symphon ywhich was first performed at the Festival Hall an dthen in Barry, Swansea and Fishguard; Sinfonietta 3 ,The sun, the great luminary of the universe, WelshDances (second suite) - Alun Hoddinott ; Castel ]Caernarfon - Grace Williams ; Invocation an dDance Op . 17, Holiday Overture - William Mathias ;Dobra niva suite - Daniel Jones .

Two major recordings of Welsh music were releasedunder the Council's sponsorship, by EMI and DeccaThe works recorded on the EMI disc were Danie lJones"Country beyond the stars' ; Grace Williams '`Penillion' and Alun Hoddinott's `Welsh Dances' ,and on the Decca disc - Alun Hoddinott's harp andclarinet concertos and William Mathias' 3rd pianoconcerto . Works similarly recorded in March 1972 ,soon to be released, include : Daniel Jones' 4th and7th Symphonies (Royal Philharmonic Orchestra,Charles Groves), and Sinfonietta 3, The sun, th egreat luminary of the universe, and Third Symphon yby Alun Hoddinott (the London Symphon yOrchestra, David Atherton) .

The Council convened several meetings to found asection of `Youth and Music' in Wales . A smal lcommittee has now been established under thechairmanship of Christopher Cory with the musi cdirector of the City of Swansea as its secretary .With funds provided by the Council and the tw oArts Associations a programme of orchestra lconcerts and opera performances is beingarranged .

The Council gave a grant of £ 15,000 to the WelshAmateur Music Federation and in the Federation' sreport, published in December 1971, it is heartenin gto see it noted that amateur music organisations- choirs, brass bands and folk song and danc esocieties - seem to be increasing in number . Th eFederation set up an advisory panel to advise o nmusic-making amongst children and young people .

Welsh National Opera CompanyIn April 1971, WNO faced a deficit of£150,000 ,accumulated over three successive years of workingto virtually a standstill grant when costs wereescalating steeply - mainly in areas outside

management control .

The deficit was paid off by means of a special grantthrough the Arts Council . Leading figures throughou tWales having spoken in aid of WNO ; it seemed theCompany had proved its worth as having a usefu lpart to play in the overall pattern for opera in th eUnited Kingdom . No marked increase in grant wasavailable for the period under review, but there wer esigns that Local Authorities in Wales had theCompany's well-being in mind and might give mor efor its development .

Despite continuing financial anxieties, the Compan yadvanced on three fronts : by replenishing itsrepertoire, by strengthening its orchestral provisio nand by streamlining its touring potential . All thesemoves have reinforced the Company's case fo rexpansion, as befitting the largest professiona lenterprise in the performing arts that Wales has sofar produced .

A highly original version of Mozart's The MagicFlute by Michael Geliot was the first of three valuabl eadditions to the repertoire . Next came the firs tproduction by a British Company of Alban Berg ' sLulu . This complex work won widespread critica lacclaim, both for its imaginative staging by Mr Gelio tand for the level of musical accomplishment achieve dby James Lockhart - notably with the Wels hPhilharmonia, which established overnight its clai mto be regarded as a theatre orchestra of some account .The second performance was broadcast by the BBCon the national network .

Verdi's Rigoletto was also mounted by John Mood yfor smaller auditoria in North and West Wales, butwith sets by Roger Butlin designed to fit large rtheatres for later performances . Its success openedup possibilities for further experiments o neconomical lines .

WNO then undertook an engagement from DALT A(which co-ordinates touring in the United Kingdom)for seven playing-weeks in English cities, and hig hbox-office receipts encouraged DALTA to rene wtheir offer at once for the Autumn of 1972 . Al lindications then were that WNO ' s future prospect slay in extending its touring activities - the more s obecause of inquiries as to the Company's availabilit yfor European Festivals .

Other than Cardiff (two seasons), Swansea andLlandudno, the Company appeared also at

42

Haverfordwest, Aberystwyth, Wrexham and Rhyl .Including the DALTA tour, this amounted t oeighteen full playing-weeks . In addition, seventy-eightperformances were given by the Company's `Oper afor All' group and twenty-two concerts were give nby the professional Chorale . Two full-scale choralconcerts were given in Swansea's Brangwyn Hall ,and a recording was made for EMI of Daniel Jones 'choral work, The Country Beyond the Stars .

Appointments and retirement sThe following retired from the Council at the end of1971 : Mr Kenneth Loveland, Miss Sian Phillips ,Miss D . E. Ward and Mr Tudur Watkins . Mr T . M .Haydn Rees and Mrs Elsie Williams were re-appointe dfor a further term. New appointments to the Counci lwere : The Marchioness of Anglesey, Judge BruceGriffiths, Mr R . Gerallt Jones, Mr Charles Langmaid ,Mr Wynford Vaughan Thomas and Miss Mena iWilliams .

HonoursThe Council wishes to offer the Chairma ncongratulations on being made Knight Bachelor i nthe Queen's Birthday Honours List.

The Council also wishes to congratulate theVice-Chairman on his being awarded an HonoraryDoctorate of Law by the University of Wales .

43

The Arts Council of

Annual accountsGreat Britain

for the year ended 31 Marc h1972

Table

page 46 Notes on accounts

A

47 Awards to artists 1971/72

B

56 Housing the Arts 1971/7 2

C

57 Accumulated deficiency grants

D

58 Analysis of drama grants and guarantees 1971/7 2

E

61 Promotion of new drama and neglected play s

F

66 National Manuscript Collection of Contemporary Writer s

1971/7 2

G

67 Special Funds 1971/72

H. A . Thew Fund

Mrs Thornton Fund

Compton Poetry Fund

Henry and Lily Davis Fun d

Guilhermina Suggia Gift

H

68 Art exhibitions 1971/72

70 Arts Council of Great Britain accounts

98 The Scottish Arts Council accounts

114 The Welsh Arts Council accounts

Notes on accounts

The Council received a further donation of £ 1,500 fro mIBM (United Kingdom) Limited . An amount of £1,100 is t obe applied out of the donation towards the Council's cost sof touring Mr Peter Logan's `Kinetic Ballet', £300 wa smade available to Foots Barn Theatre, Cornwall, and th eremaining £100 was allocated to the Polyphonia Orchestra .

During the year under review the Dio Fund was create dand the Council assumed responsibility for its adminis-tration . It is hoped to award annually a music commissionfee and the first such award will be offered during 1972/73 .

The Scottish Arts Council's Revenue and Expenditur eAccount and Balance Sheet record the sale during the yea runder review of No .l I Rothesay Terrace, Edinburgh ,which had been the Council's Scottish headquarters sinceMay 1954 . Additional expenditure was incurred in furthe ralterations and improvements to the Charlotte Squarepremises which became the Scottish headquarters inDecember 1971 .

The Balance Sheet also records that during the year th eCouncil purchased the freehold of No . 5 BlythswoodSquare, Glasgow, for £35,661 . This building contains a fin eexhibition gallery which had been leased to the Council bythe Glasgow Lady Artists' Club since 1966/67 and thi spurchase ensures the continuation of the Council'sestablished exhibition activities in Glasgow .

The grant of E21,564 to the Traverse Theatre Club, show nin Schedule 3 of the Scottish Arts Council's accounts ,includes sums totalling £1,177 in respect of donationsreceived by the Council on the understanding that the ywould be paid to the Club .

46

Table A Awards to artists 1971/72

ENGLAND

MUSIC John Joubert Northern Sinfonia ConcertSociety ; Sheffield Bach

Commission fees SocietyJohn Lambert New London Ensembl e

Richard Alston Contemporary Dance Trust Pietje Law Ballet Ramber t

Gideon Avrahami Ballet Rambert Bruce Lawrence Aylesbury Choral Society

Nadine Baylis Ballet Rambert (two Nicola LeFanu Levon Chilingirian

commissions) David Lord Northern Sinfonia Concer t

David Bedford Omega Players Societ y

Richard Rodney English Bach Festival Trust ; David Lumsdaine Cheltenham Arts Festival s

Bennett King's Singers Elisabeth Lutyens London Sinfonietta

Lennox Berkeley Rodney Slatford Elizabeth Maconchy Cheltenham Arts Festival s

Stephen Block Handel Society (Lewisham) John Manduell New London Ensembl e

Christopher Bruce Ballet Rambert John McCabe Three Choirs Festival

Geoffrey Burgon Wooburn Festival Society Worcester Committee

Geoffrey Bush Guildhall School of Music John Mayer City of Westminster Festival

and Drama Norman Morrice Ballet Rambert (tw o

Charles Camilleri Cheltenham Arts Festivals commissions)

Philip Cannon Aylesbury Choral Society Tony Oxley Musicians' Co-operative

Richard Caswell Ballet Rambert Paul Patterson London Student Chorale ;

Bruce Cole Fires of London ; Thames Mayfield Festiva l

Concerts Society Leslie Phillips London Borough of Redbridge

Graham Collier Camden Festival Norman and Kent Opera (libretto)

Justin Connolly Eiko Nakamura Joanna Plat tEdward Cowie Falmouth Youth Orchestra Eddie Prevost Music Now

Peter Curtis Ballet Rambert Alan Ridout Canterbury Choral Society ;

Martin Dalby Baccholian Singers Kent Opera

John Dankworth City of Westminster Festival David Rowland London Bach Societ y

Harold Darke Barnet Borough Arts Council Alexander Roy International Ballet Carava n

Peter Maxwell Davies New Philharmonia Orchestra John Rutter Richard Hickox Singers an d

Peter Dickinson Orchestra da Camera Orchestr a

Richard Drakeford Little Missenden Festival Leonard Salzedo Ballet Rambert

Tony Duhigg British Dance Drama Theatre Madeleine Samuelson Dance for Everyone

David Fanshawe New London Ensemble Yoma Sasburgh British Dance Drama Theatre

Jon Field British Dance Drama Theatre Joseph Scoglio Ballet Rambert

Benjamin Frankel Stroud Festival Peter Sculthorpe Cheltenham Arts Festival s

Christina Gallea International Ballet Caravan Robert Sherlaw Johnson Louis Halsey Singers

Peter Gellhorn Richmond-upon-Thames Arts Naresh Sohal Philip Jones Brass Ensemble

Council and Barnes Music Giles Swayne Potheino s

Club Phyllis Tate Royal Scottish Academy of

Edward Gregson London Borough of Music and Dram a

Redbridge John Tavener Nash Concert Society ; Omeg a

Inglis Gundry Opera Piccino Players ; Little Missenden

Barry Guy London Jazz Composers Festiva l

Orchestra Jonathan Taylor Ballet Ramber t

Iain Hamilton London Philharmonic Malcolm Williamson Scunthorpe Civic Theatre ;

Orchestra The Scholars

John Haynes Northern Dance Theatre Douglas Young Polyphonia

Michael Holt Northern Dance TheatreAnthony Hymas Ballet Rambert (two

commissions)Suzanne Hywel Northern Dance TheatreGordon Jacob Kent Wind SocietyWilfred Josephs Hull Philharmonic Society

47

Table A

Awards to artists 197172(continued )

ENGLAND

MUSIC (continued) Norman FlorenceMichael Gaun t

Bursaries Anthony Hil lCarolyn Hutchinson

Jane Attfield Bernard JayHarry Beckett Joanna Kingsma nDavid and Naomi Hadda Terry McEnteeIan V . Hays Peter MoynihanJames Judd Elisabeth Pearso nWilliam Lennox Andrew PorterNicholas Maw Nige] Rideou tColin Metters Meryl Robertso nMary Mumford Eileen ThornsRobert Stewart Cheryl-Anne WilsonMichael OsborneMichael Pyne Short course in Business Studie sLeon Rosselson (Polytechnic School of Management Studies )Giles SwayneTrevor Watts Gillian Adam s

Richard ArmstrongGraham BarnesAndrew Douglas-Jones

DRAMA David EdwardsClare Fox

Playwrights Michael Gaun tAnthony Hill

William Emms *Nottingham Playhouse Carolyn HutchinsonWilliam Morrison *Stoke-on-Trent Theatre Joanna KingsmanMadeleine Southerby *Caryl Jenner Productions Sean McCarth yE . A . Whitehead *English Stage Company Peter Moyniha nHoward Barker Elisabeth PearsonBolivar le Franc Felicity Pococ kCarey Harrison Andrew PorterTom Mallin Nigel RideoutMustapha Matura Meryl Robertso nDavid Mowat Leonie Scott-Matthew s

Eileen ThornsPlay commissions Cheryl-Anne Wilso n

Christopher Bond *Nottingham Playhouse Trainee designersRobert Furniva lPat McGrath *Nottingham Playhouse David Burrows Leicester Phoenix Theatre

Alison Chitty *Stoke-on-Trent TheatreJohn Whiting awards David Fielding *Nottingham Playhouse

Marshall Goodhew *Theatre Projects LightingMustapha Matura Diana Greenwood *Newcastle University TheatreHeathcote Williams Jenni Holland *English Stage Company

Digby Howard *Leeds PlayhouseTrainee administrators David Lay *Greenwich Theatre

Poppy Mitchell *Newbury Watermill Theatr eShirley Matthews *National Theatre Mary Moore *Mermaid Theatr eGillian Adams Brenda Hartill Moores *National TheatreRichard Armstrong Anusia Nieradzik *National TheatreDavid Edwards Jilda Popplewell *Coventry Belgrade Theatre

48

Bob Ringwood

Andrew SandersDi SeymourPaul SteinbergDavid BurrowsBronwen CassonDigby HowardJohn G. Miller

*Camden Playhouse Produc-tions

*Royal Shakespeare Theatre"English Stage Company*Sheffield Crucible Theatre

Trainee directors

Tim AppelbeeJohn Burges sRobert CushmanAndrew DallmeyerMichael Vaughan EdwardsIan GilesBruce HuettMisha WilliamsAndrew Wistreich

Trainee technician s

Geoffrey Boswel lSimon BowlerKeith FakenbridgePhilip RoweMichael Williams

"Thorndike Theatre"Northcott Devon Theatre'Yvonne Arnaud Theatre•Northcott Devon Theatre

Bursarie s

Jonathan Bowde nCarolyn GorneyCharles Lewse nGraeme Phillips

ART

Commission s

Cabot Industrial Development Company LimitedRoyal Victoria Hall FoundationUniversity of Durham Trevelyan Colleg e

Discretionary awards

Maurice AgisRichard AllenAnthea AlleyGillian AyresJules Baker

Phyllida BarlowKate BarnardAl Beac hAnthony BeersJon BirdNeville BodenMichael BoothDerek BoshierWilliam BowlesFionnuala BoydStuart BrisleyMarc ChaimowiczColin CinaStephen ClancyRobert ClatworthyRob ConBarrie CookJohn CopnallAlan Co xRoger Dainto nClive DalyChristopher DaviesHugh DaviesAlan DavisMichael Davi sPeter DockleyAntony DonaldsonJohn ErnestNoel Forste rJohn FoxJohn FurnivalMichael GormanLaszlo Gyeman tDon HefferonPeter HideDerek HirstColin HitchmoughPeter HobbsGeorge HostlerSylvester Houedar dFrancis HoylandMalcolm HughesAlbert Hun tTony Ingra mJim IvesColin JonesGareth JonesT. Martin JonesPeter KennardMichael KidnerRobin KlassnikPeter KuttnerPeter Layto nPeter Logan

49

Table A(continued)

kisards to artists 1971 7 2

ENGLAND ART (continued)

Peter LoweRory McEwenJohn McLeanPaul Marti nDavid Medall aGustav Metzge rAlan MillerRoland MillerKeith MilowJames Moye sJohn Murph yRoy NaylorMike Nort hTom Phillip sCarolan PriceMichael Rhode sRichard RomeChristopher Sanderso nDavid Saunder sTessa Schneidema nD. J . Shepher dR. E. Sim sGeoffrey Smedle yRosemary SmithJean Spence rJeffrey SteeleChris Steele-Perkin sGraham StevensTeller Stoke sJan Sucklin gHomer SykesPeter WaldronDavid WhitakerGlynn WilliamsGillian Wis eMagdalena Zeise l

LITERATURE

Grants to writers

A. AlvarezSven Berli nPeter BrookeVictor CarasovKay DickPatric DickinsonGavin EwartColin FalckDonald Gardner

Michael Fineber gTony HarrisonA. M. Sheridan SmithDaniel Weissbort

Grant to publisher

Calder and Boyars Limited(`The Unicorn' by Martin Walser )

Henry GrahamRayner HeppenstallThea Holm eAnthony Howel lJames Kirku pPaddy KitchenBarry MacSweeneyHarold MassinghamRollo MyersShiva Naipau lAnthony NaymanHubert Nicholso nTony ParkerTom Phillip sMalcolm Ritchi eDick RussellPenelope ShuttleEdward StoreyColin ThubronRoy Oliver WalkerBernard Wal lElizabeth WebbTerence WheelerPeter Whigha m

Grants to poets (publication awards )

Maurice CarpenterKevin Crossley-HollandZulfikar Ghos eKeith HarrisonBrian PattenSally Purcel lR . S. ThomasDonald Ward

Grants to translators

50

EDUCATION IN THE ART S

Polytechnic of Central London School of Managemen tStudies : Training Course in Arts Administratio n

Bursarie sLorne CuthbertRichard DawsonMichael Grenste dBranwen Iorwert hRobert Jame sPaul Maso nMary-Jean McNei lPatricia ReynoldsPeter TannerMargaret TollidayWilliam Weston

51

Table A

1nards to artists 1971 7 2(continued)

SCOTLAND

MUSIC ART

Special grants Bursaries

Shaun Dillon Kenneth Dingwal lPeter Inness Alexander FraserWilliam Wordsworth Anthony Jone s

McLachlan McCollCommissions Campbell MacPhai l

Alistair ParkNeil Butterworth *Edinburgh Corporation Iain PattersonMartin Dalby *John Currie SingersShaun Dillon *Scottish Amateur Music Commission s

Associatio nPeter Inness Gerald Laing

*Strathclyde Universit yThomas Wilson *Clarina Ensemble Ann Ross

*Lennox Ensemble Merilyn Smit hJohn Taylor

Bursaries

Margaret Bayne LITERATUR EShona MacLeodJohn McLeod Special award

Flora MacNeil lDRAMA

BursariesTrainee designers

George Campbell HayAlena Balejova Tom LeonardPeter Bennion *Edinburgh Civic Theatre Tom McGrat hNicholas Somerville *Perth Repertory Theatre Alisdair MacLean

Kathleen RaineTrainee administrators Alan Spence

Jack WithersAndrew PorterNigel Rideout Publication awards

Bursaries Chaim BermantGeorge Mackay Brow n

George Mackay George BruceBrown *Perth Repertory Theatre Elspeth Davie

Ian Brown *Edinburgh Civic Theatre Janet DunbarTom Buchan *Traverse Theatre Club George MacBet hWilliam Corlett *Perth Repertory Theatre Norman MacCaigJohn Cumming Lea McNall yAndrew Dallmeyer *Edinburgh Civic Theatre John McNeilli ePhilip Emanuel Iain Crichton Smit hLindsay Kemp Christopher Sinclair Stevenso nJohn McGrath *Edinburgh Civic Theatre Professor Derick S . ThomsonHector MacMillan *Edinburgh Civic TheatreDavid MacNiven *Traverse Theatre Workshop Travel gran tCecil P . Taylor *Traverse Theatre Worksho pWilliam Watson *Perth Repertory Theatre Alan Bold

52

Grants to publishers

Caithness BooksCalder & Boyars Limite dJ. M. Dent & Sons Limite dEdinburgh University PressMacdonald Printers (Edinburgh) LimitedNorthern Hous eOliver & Boyd LimitedRamsay Head PressReprographiaScottish Theatre Editions

53

Table A(continued)

Awards to artists 1971 7 2

WALES MUSIC

Bursarie s

Gareth DaviesHazel Hibber tEirian JamesAlun JenkinsPatricia O'Neil lDavid PorterDewi WatkinsJanet Watt sNigel Waugh

Commissions

Eric Ball Lower Machen FestivalAdrian Beaumont Cardiff Festival of 20th Century

MusicLennox Berkeley North Wales Music FestivalMervyn Burtch Llantilio Crossenny FestivalArnold Cooke Cardiff University CollegeMartin Dalby Cardiff Festival of 20th Century

Musi cDilys Elwyn Edwards W. H. Davies Centenary

Celebration CommitteeP. Racine Fricker Cardiff Festival of 20th Century

Musi cJohn Gardner Cardiff Festival of 20th Century

MusicDavid Harries University College of Wales -

AberystwythTony Hewitt-Jones Cardiff University CollegeAlun Hoddinott Cardiff Polyphonic Choi r

Vale of Glamorgan FestivalRoyal Philharmonic OrchestraUrdd Gobiath Cymru

Elgar Howarth Cardiff Festival of 20th CenturyMusi c

John Hywel Lower Machen Festiva lDaniel Jones Royal Philharmonic Orchestra

*Royal National Eisteddfod ofWale s

Swansea FestivalWilliam Mathias Urdd Gobiath Cymru

Cardiff Polyphonic ChoirBBC Welsh Orchestr aLlandaff Festiva l

John Metcalf Cardiff Festival of 20th CenturyMusi c

Lower Machen Festiva lNorth Monmouthshire Festiva l

of the ArtsT. H. Parry-Williams *Urdd Gobiath Cymru

John Rutter Cardiff Polyphonic ChoirJim Samson Cardiff Festival of 20th Centur y

Musi cLower Machen Festival

Humphrey Searle Cardiff Festival of 20th CenturyMusic

Robert Smith *Royal National Eisteddfod ofWales

Robert Swain Cardiff Festival of 20th CenturyMusi c

Lower Machen FestivalPhyllis Tate Cardiff Polyphonic ChoirRaymond Warren Cardiff University CollegeDavid Wynne Guild for the Promotion o f

Welsh Music

DRAMA

Bursaries

Gillian AdamsWynford Ellis Owen

Guaranteed royalty scheme

Ewart AlexanderG. O. M. JonesElaine Morgan

ART

Design grants to publishers

Gwasg Gomer

Design grants to designers

Jeff Clement sDesign SystemsDouglas HallidaySusan Shield s

Works of art for public buildings

Ebbw Vale Urban District CouncilSculpture by Gareth Evans

Gwynedd Police AuthoritySculpture by Jonah Jones

Lampeter : St David's CollegeSculpture competition

54

Bursary

William Wilkins

Commission s

David Hur nIvor Roberts-JonesTerry Setch

Film-making

BBC Wales TV film sChristopher BillingtonCardiff Cine SocietyLaurie DaviesRichard Traylor-SmithDavid Walto n

LITERATURE

Grants to publisher s

Second AeonChristopher Davies Limite dGwasg GeeGwasg GomerHutchinson Publishing Group LimitedJohn Jones (Publishers)University of Wales Pres s

Grants to translators

Wyn GriffithsT. H. Jame sIdal WaltersNina WatkinsGwyn Williams

Bursarie s

Ron BerryGareth Alban DaviesT. Wilson Evan sBryn Griffith sJohn L . Hughe sMary Hughe sRodney Hyde-ThompsonPeter PreeceCaradog Pritchard

* In these cases payment is made to the organisatio nshown .

Alun Richard sJohn RowlandsMarion Griffith William sR. Bryn WilliamsRhydwen Williams

Honours

Glyn JonesJohn Gwilym Jones

Prizes

Pennar DaviesEmyr Humphrey sBobi JonesRichard Jones

Fees

S. J . Adams

Yeats Summer SchoolGwyn Williams

Brian Merriman Summer Schoo l

55

Table B Housing the Arts 1971 72

In 1971/72 the Arts Council's grant-in-aid of £11,900,000 included £770,000 for Housing the Arts. The details of thissum can

found at the end of Schedules 3 where £618,000 is accounted for in England £75 000 in Scotlan dand £77,000 in Wales.The Arts Council has also been empowered to enter into commitments to make provision for Housing the Art sup to a total of £430,000 over and above the cash grants of£770,000 . The details of this commitment as at31 March 1972 are set out below :

England

Sheffield : Crucible Theatre Trust Limited 128,000Leicester City Council 120,000Farnham Repertory Theatre Trust 27 , 500Birmingham : Cannon Hill Trust Limited 25,00 0Wycombe : South Bucks Arts Trust 15,00 0Avoncroft Museum of Buildings Limited 13,000Worcester Arts Association (SAMA) Limited 7,500Hartlepool County Borough Council 5,000Workington Borough Council 5 ,000Bishop's Stortford : Hertfordshire and Essex Malthouse Trust Limited 3,000

349,000

Scotland

University of Glasgow 11,000

Wales

University College of North Wales, Bangor 70,000£430,00 0

56

Table C Accumulated deficiency grant sIncluded in the amounts shown in Schedules 3

England

Sadler's Wells Trust (Coliseum) Limited 253,15 3Ballet for All 21,81 5Candida Plays Limited 9,25 0London : Greenwich Theatre Limited 5,000Liverpool Repertory Theatre Limited 4,000Northern Dance Theatre Limited 2,977Oxford : Museum of Modem Art Limited 2,922Exeter : Northcott Devon Theatre and Arts Centr ePlymouth Arts Guild

2,0001,500

Nottingham Theatre Trust Limited 1,200New Shakespeare Company Limited 1,000Oxford : Bear Lane GalleryLimited 39 0Ludlow Festival Society Limited 276

Scotland

Scottish Opera Limited

40,68 9Edinburgh : Traverse Theatre Club

2,000Printmakers Workshop

23 0

Wales

Welsh National Opera Company Limited

162,98 5

Note : The above amounts include commitments and are not necessarily the amounts paid.

5 7

Table D Analysis of drama grants and guarantee s

for the year ended 31 March 1972

Revenue Capital New Training Young Totalgrants or expendi- drama and schemes People's

guarantees ture neglected Theatreplays activities

£ £ £ £ £ £

12,000 12,00 0350 33,000 33,350

84,000 84,00017,500 850 1,960 7,000 27,31 065,000 400 1,200 750 67,35011,650 11,65012,500 396 350 13,24 618,750 18,75024,150 650 350 25,15019,500 19,50011,000 1,500 12,500

5,000 5,00033,500 800 500 34,80055,500 1,400 250 364 2,700 60,21 412,500 12,50 022,000 350 22,35 035,500 2,500 600 671 6,325 45,59 613,000 1,050 1,250 15,30025,000 10 25,01 016,500 850 17,35024,750 700 25,45025,600 700 3,250 29,550

6,000 480 6,48044,500 430 1,300 3,600 49,83038,000 500 194 1,000 39,69 4

680 68 032,000 700 143 5,000 37,84 328,750 500 1,050 221 2,000 32,52 132,250 1,125 1,000 34,37 5

800 2,800 25,000 28,60059,000 900 59,900

375 3,024 28,742 32,14 1100,000 1,000 650 3,750 105,40026,000 500 1,400 429 2,450 30,77 910,000 2,450 12,45011,200 2,600 5,650 19,45044,000 1,400 390 45,790

950 8,000 8,9502,750 2,750

10,000 10,0002,644 2,644

22,000 22,00031,500 31,500

500 225 72 527,000 800 442 3,025 31,26721,500 21,50077,000 2,780 403 2,700 82,88311,000 11,00063,000 1,750 64,75 0

5,000 5,00011,000 350 11,350

£1,231,850

£18,826

00,094

£4,142 £175,266 £1,460,178

ENGLANDBillingham Forum TheatreBirmingham : Cannon Hill Trust LimitedBirmingham Repertory Theatre Limite dBolton : Octagon Theatre Trust Limite dBristol Old Vic Trust LimitedBromley Theatre Trust Limite dCambridge Theatre Company LimitedCanterbury Theatre Trust LimitedCheltenham Everyman Theatre Company Limite dChester : Gateway Theatre Trust Limite dChesterfield Civic Theatre LimitedChichester Festival Theatre Productions Company Limite dColchester Repertory Company Limite dCoventry : Belgrade Theatre Trust (Coventry) Limite dCrewe Theatre Trust Limite dDerby Playhouse LimitedExeter : Northcott Devon Theatre and Arts Centr eFarnham Repertory Company Limite dGuildford : Yvonne Arnaud Theatre Management LimitedHarrogate (White Rose) Theatre Trust LimitedHornchurch Theatre Trust Limite dIpswich Arts Theatre TrustKingston-upon-Hull : Hull Arts Centre LimitedLancaster : Century Theatre Limite dLeatherhead: Thorndike Theatre (Leatherhead) Limite dLeeds : Interplay TrustLeeds Theatre Trust Limite dLeicester Theatre Trust Limite dLincoln Theatre Association LimitedLiverpool : Merseyside Everyman Theatre Company Limite d

Liverpool Repertory Theatre Limite dLondon : Caryl Jenner Productions Limite d

English Stage Company LimitedGreenwich Theatre LimitedHampstead Theatre Club LimitedInter-Action Trus tMermaid Theatre Trust LimitedNational Youth TheatreNew Shakespeare Company LimitedPioneer Theatres LimitedPolka Childrens' Theatre LimitedTheatre Centre Limited

Manchester : Sixty-Nine Theatre Company LimitedNewbury : Watermill Theatre LimitedNewcastle-upon-Tyne: Tyneside Theatre Trust LimitedNorthampton Repertory Players Limite dNottingham Theatre Trust Limite dOldham Repertory Theatre Clu bOxford : Meadow Players Limite dPlymouth Arts Guil dRichmond Theatre Productions Limited

Carried forward

58

Revenue Capital New Training Young Total

grants or expendi- drama and schemes People ' sguarantees tune neglected Theatre

plays activities£ £ £ £ £ £

Brought forward 1,231,850 18,826 30,094 4,142 175,266 1,460,17 8Salisbury Arts Theatre Limited 25,000 350 1,500 _26 185 0Scarborough Theatre Trust Limited 3,500 450 _

700 _41 65 0Sheffield : Crucible Theatre Trust Limited 80,000 800 1,220 390 7,500 89,91 0Stoke-on-Trent and North Staffordshire Theatre Trust Limited 27,500 500 3,450 _

221 317 00 35,37 1University of Sussex (Gardner Arts Centre) 3,600 -

3,600Watford Civic Theatre Trust Limited 14,500 1,050 _ 3,950 19,500Worcester Arts Association (S .A.M.A.) Limited 11,500 700 150 12,350Worthing and District Connaught Theatre Trust Limited

_17,500 2,000 350 2,700 22,550

York Citizens' Theatre Trust Limited 36,500 1,000 80 1,498 39,07 8

Action SpaceAurora Productions 34 5Basement Theatre Limite dBlack Box Partnership Limite dCamden Playhouse Productions LimitedThe Combination Limited

_

1,00 0_

5,500 -

_

6,0008,000

204

1,820

2,610

The Dark and the Light Theatre Limited 1,000 350The Freehold_ Theatre Company Limited 5,500Hana No Mask Company 150

800 _Kindred Centre for Playwrights

47 4King's Head Theatre Club

_2,500

78 6Lancaster Orbit Limited

35 0London La Mama Troupe 600

_London Theatre GroupLow Moan Spectacular _ 1,750

300Mokadi Productions Limited

-

Original ProductionsOval House _ __ _

_

People Show 2,000People Time/Space 1,000 _Pip Simmons Theatre Group 7,000

311_Portable Theatre Limited 9,470

157

Theatre 84Theatre Projects Lighting_LimitedT P ProductionsThe Triple Action Theatre Group

500The Welfare State

_ 750

375

200

20034 5

3,0245,50 0

210

_81820750

8,75 0--- ---1,35 0

-

- -_5,50015 0346

-

- 25 81_,1UU

4743,28 6

356- 600

34 5_ 2,050

25025 816 5

2,00 01,0007,31 1

3,13 075 912 1

_ 3161,61 33,3201,050

35 1239500

1,12 5

Incubus Theatre Compan yJean Pritchard Management LimitedKen Campbell's Road Show

34 625 8

345

250258

-16 5

Quipu Productions Limited

1,000

_ 2,13 0

Recreation Ground

759

Richmond Fringe Theatre Group_The Section7 :84 Theatre Company

750

400

The Soho Theatre

2,905

415

_ 31 6463

1,050

_35 1

239

Association ofBritish Theatre TechniciansBritish Centre of the International Theatre Institut eBritish Drama League

250

6,072

6,322- - -

375

_

37 5- -

2,000

-

- -

- 2,00 0

Carried forward

£1,511,750

£26,538

£51,264

£11,551 £197,214 £1,798,31 7

59

Table D

knalysis of drama grants and guarantee s(continued)

Revenue Capital New Training Young

Tota lgrants or expendi- drama and schemes People's

guarantees ture neglected Theatreplays activities

£ £ £ £ £

£1,511,750 26,538 51,264 11,551 197,214

1,798,31 7300 30 0500 50 0500 500

6,000

19,059

1,160

26,21 9

£1,51 ,05

06-,578- E377,76-4 £30,610 £198,374 £1,825#6

Revenue Capital New Transport Training Young Tota lgrants or expendi- drama subsidies schemes People's

guarantees ture Theatreactivities

£ £ £ £ £ £

50 5 0747 74 7

1,930 1,93 030,330 650 524 300 3,500 35,304

150 15 052,270 1,000 900 350 325 5,500 60,345

250 25 020,177 1,387 21,56 42,250 200 2,45 0

66,720 4,675 750 300 6,500 78,945

1,000 1,00026,500 3,810 642 150 416 2,750 34,26825,800 600 2,250 28,6506,000 350 400 100 6,850

50 50100 100

100 10075 75

900 900500 500500 500700 700125 12 5

947 94 7

6,100 6,100

£241,577 £11,232 £5,803 £1,800 71,688 £20,500 £2 2,600

Brought forwardBritish Institute of Recorded SoundCouncil of Repertory TheatresTheatres' Advisory Counci l

Bursaries

SCOTLANDAberdeen : University of Aberdee nCumbernauld Theatre Grou pDervaig Arts Theatre LimitedDundee Repertory Theatre Limite dEdinburgh : Children's Theatre Workshop

Edinburgh Civic Theatre Trust LimitedThe Pool Lunch-Hour Theatre ClubTraverse Theatre ClubTraverse Theatre Workshop

Glasgow : Citizens' Theatre Limited(including Close Theatre Club)University of Glasgo w

Perth Repertory Theatre LimitedPitlochry Festival Society Limite dSt Andrews : Byre Theatre of St Andrews Limite d

University Mermaid Drama SocietyUniversity of Strathclyde

British Centre of the International Theatre InstituteCouncil of Repertory TheatresProspect Productions LimitedScottish Theatre Guil dShanter ProductionsStage Company (Scotland )7 :84 Theatre CompanyTraining Schemes Bursarie s

Bursaries

60

Table E Promotion of new drama and neglected play s

First Professional ProductionsBirmingham : Cannon Hill Trust Limited

The Jockey Drives Late Henry LivingsNights

Bolton : Octagon Theatre Trust Limited

Jack Tina Crag gBird of Contention Sven Clausen translated by

Peter and Ann ThorntonThe Sunday Walk Georges Michel translate d

by Jean Benedett iComing of Age Wilfred Harrison

Bristol Old Vic Trust Limited

Fears and Miseries of th eThird Reich

Bertolt_Brecht translated byPaul Kriwoczek

Flight

Mikhail Bulgakov trans -lated by Michael Glenny

Cambridge Theatre Company Limited

You and Your Clouds

Eric Westphal translatedby Richard Cottrel l

Century Theatre Limited

How to Grow a Guerilla

David Pownal lAll the World should be

David Pownal l

Professor Quickety Thinks

Devised by Young Noople'sand the Klomper King

Theatre CompanyCheltenham Everyman Theatre Company Limited - The Law and Order Gang

Bett y Pau l and PeterLambda

Coventry : Belgrade Theatre Trust (Coventry) Limited The Siege ofBelgrade Castle Devised by Young People'sTheatre Company

Derby Playhouse Limited

A Plague on All the Houses John HaggertyExeter : Northcott Devon Theatre and Arts Centre

Happy Families

Bernard GossFarnham Repertory Company Limited

The Woman in White

Wilkie Collins adapted byGuy Slater

Harrogate (White Rose) Theatre Trust Limited

What Did You Do in the

John HaggertyWar. Mum?Christopher Columbus

Michel de Ghelderodetranslate d

Hornchurch Theatre Trust Limited

If You Go Down in the

Peter McKelvey

Bird's Nest Peter Whitbrea dHull Arts Centre Limited Truth or Dare Brian Clark

Marvin Meades' Revolt Harold DuffinIpswich Arts Theatre Trust Devil Take Ye! Alan Gosling

Break of Noon Paul Claudel translated byJonathan Griffin

Leeds Theatre Trust Limited Tight at the Back Leonard BarrasPictures in a Bath of Acid Colin Wilson

Leicester Theatre Trust Limited The Banana Box Eric Chappel lOpen House Leslie Sands

Liverpool : Merseyside Everyman Theatre Company The Cleverness of Us C. P. TaylorLimited

. Welfare Charles WoodEveryman 71

Programme ofplays byvounQ authors

Box Paul Harman and Rober t_Tomson

Simple Simon C. G. Bon dNot So Simple Simon C. G. Bon dSoft or a Girl John McGrath

61

TableE

Promotion of new drama and neglected play s

(continued )

Play AuthorLiverpool Repertory Theatre Limited Lighthearted Intercourse Bill Naughton

Borstal Boy Brendan BehanLondon : Aurora Productions Oscar X Tudor Gate s

Basement Theatre Limited The Object Giles Coope rThe Position Grotesque Stanley PriceShelter Alun Owe nBack on Your Heads Walter Hal lA Rancid Pong Mike LeighDouble Bill, comprisingApricots Trevor Griffith sCalley Manson Andrew DallmeyerThe Kapo Andrew Mullet tThe Clinic Peter Crichton William sA Day for Surprises John Guar eThe Ant and The Grasshopper Keith Darvil lHot Pants Andrew CarrGoing Home William Trevo rEvelyn Rhys AdrianDouble Bill, comprisin gCut Michael AlmazThe Unexpurgated Memoirs Jules Feifferof Bernard Mergendeiler

Camden Playhouse Productions Limited Tira Tells All There is to Mike WellerKnow About Hersel fThe Critic As Artist Oscar Wilde adapted by

Charles MarowitzRitual For Dolls McEwan GreenDouble Bill, comprisingNext and Sweet Eros Terrence McNallyMy Foot My Tutor Peter HandkeHome Front Martin Walse rGeorge and Moira Entertain John Grill oa Member of the OppositeSex to DinnerThe Four Little Girls Pablo Picasso translated by

Roland PenroseEdward - The Final Days Howard Barker

Caryl Jenner Productions Limited The Disappearing Spell Christopher BrocSwag John BolandThe Extraordinary Case of Gregory Marshal lthe Kipper and the CafeDouble Bill, comprisingTam and Cam Katy Hounsel RobertSurprise II Paddy Campbel l

The Dark and the Light Theatre Limited Kataki Shimon WincelbergGreenwich Theatre Limited Fish Out of Water Feydeau translated by

Ned Sherrin and CarylBrahms

A Liberated Woman Barry ReckordThe Feydeau Farce Festival Bamber Gascoigneof 1909The Performing Husband Donald Churchill

62

Play

_ Autho r_Hampstead Theatre_ Club Limited Disabled Peter Ra_nsley

His Monkey Wife _ Sandy W_ilso_n

_The Great Exhibition David Hare

Incubus Theatre Company- - - Sonny Boy's Egg Paddy Fletcher

Jean Pritchard Management Limited The Grave _Melville Lovat tLame Duck Robin Eddison

_

Kindred_ Centre for Play_r_igh_t_s_ Orders from the 14th Richard BrownerDictatorTriple Bill, comprising __Paper Tiger Michael Almaz -Scream Kate QuillanAGame for Three Players Frank Wyma n

King's Head Theatre Club Death in Leicester Roy Minton

-_London Theatre Group The Trial Franz K_afka adapted_ by_

Steven Berkoff_

_Mermaid Theatre Trust Limited Hanky Park Walter Greenwood

The Old Boys William Trevo rPrometheus Bound Aeschylus adapted by_

Robert LowellT

The Price of Justice Albert Camus translated by_ Robert Baldic k

Mokadi Productions Limited A Dream - or Perhap_s_It Isn't Luigi Pirandello translated__ _by Frederick May

Please Don't Play Elephant Leon Rosselson

-_Games on the Gras s_

Youth Theatre_National Slip Road Wedding Peter Terso_nOriginal Productions--- I Got to do Everything

_ ___Kennet h-- -

Hill _Myself - -

-The Ledge Brian Henry .

Quipu Productions Limited_ __The Deed

- Philip Martin_An Autumn in Braunstone_ Claude Duneto n

Bill, comprising----DoubleThe Girl Who Didn't_L_ike David Halliwel lAnswers_Lady David Cockshot_Double Bill, comprising_Blood on the Table

__David Mercer __

A Window_ in the Roof of Philip Martin_the Sk yHouse in a London Square Buzz Francis and

Angela Crow

_Two Comic Sketches : An David H_alliwellAmour and A FeastSinclair

_John McGahern

_The Thomson Report Peter RansleyA Hundred Watt Bulb George ThatcherOne Long Hunt Philip Martin

_The Last of the Feinstein Tony Connor

The Cell H. B. Kimmel

63

Table E(continues!)

Promotion of new drama and neglected plat s

Recreation Ground

7 :84 Theatre CompanyT.P. Productions

Theatre 84

Newcastle-upon-Tyne : Tyneside TheatreTrust Limited

Nottingham Theatre Trust Limited

PlayLieutenant Gust l

Steinway Gran d

Face AcheThe Island of Slaves

Wide Open Spaces

Trees in the Win dSarah and the SaxThe Old SoldierDouble Bill, comprisingEast West and The Story ofthe Little White BullDouble Bill, comprisin gThe Witnesses

Death in Instalments

Impromptus for Leisure :Nitrogen, The Late and TheTwinkling TwinsThe Grace Darling Sho wSir Gawain and the GreenKnightPlay Strindber g

The Swallow Garden

AuthorArthur Schnitzlertranslated by Peter WatsonFerenc Karinthy translatedby Matyas EsterhazyHoward BarkerPierre de Marivauxtranslated by MichaelHuck sRene de Obaldi atranslated by Donal dWatsonJohn McGrathLewis John CarlinoCharles Gray

Andrei Amalrik translatedby Daniel Weissbort

Tadeusz Rozewicz trans-lated by Adam Czerniawski _Janusz Krasinski translated_by Edward RothertRene de Obaldia translatedby Donald Watson

C. P . Taylo rBrian Stone and PeterStevensFriedrich Duffenmatttranslated by James KirkupMichael Payne and Jenn iVaulkhar d

Richmond Fringe Theatre GroupRichmond Theatre Productions LimitedSalisbury Arts Theatre LimitedScarborough Theatre Trust Limite d

Sheffield : Crucible Theatre Trust Limited

The Owl and the Battlements Beverley Cros sA Life of the General Ronald MavorThe Green Leaves of Robert Furnival andNottingham Pat McGrathGo Tell it on Table Mountain Evan JonesSamarkand Frederic Piffar dPackage Deal Peter Robert ScottTime and Time Again Alan AyckbournOne for the Road Ray HermanWords Norris HarveyBritannia's Boys Alan CullenI Was Hitler's Maid Christopher Wilkinso nWait for the Bell Rony Robinso nTwo Squared : Hopskotch and Norris HarveyPussyShades of Heathcliff John Spurling

64

Play Author_Stoke-on-Trent and North Staffordshire Conan Doyle Investigates Roger Woddis

Theatre Trust Limited The Samaritan Peter TersonHands Up - For You the Documentary-devised byWar is Ended the CompanyThe Time Travellers William Morrison

_The Old Wives' Tale, Parts Arnold Bennett adaptedI and II by Joyce CheesemanAladdin and His Magic Lamp William Morriso nBut Fred Freud Is Dead Peter Terson

Watford Civic Theatre Trust Limited The Superannuated Man Kevin Laffan_Grumbold Martin Canter

Worcester Arts Association (S .A.M.A.) Limited Flibberty and the Penguin David Woo d

b Second Professional Production sFarnham Repertory Company Limited

Who Was That Lady?

John Albery andJohn Gould

Lancaster Orbit Limited

The Finest Family in the Land Henry LivingsLeicester Theatre Trust Limited

Straight Up

Sydney Cheatle

_Liverpool : Merseyside Everyman Theatre Company

The Foursome

E . A . Whitehead

London : Camden Playhouse Productions Limited

It's Called the Sugar Plum

Israel Horovit zThe Creditors

August Strindberg, trans=lated by Michael Meyer

A SkyBlue Life

Howard BrentonCaryl Jenner Productions Limited

Conn and the Conquerors of William Morrison

Hampstead Theatre Club Limited Bedtime and Butter Douglas LivingstoneThe Novelist Tom Malli n

King's Head Theatre Club Package Deal Peter Robert ScottNational Youth Theatre The Samaritan Peter TersonQuipu Productions Limited A Last Belch for the Great David Halliwell

AukRecreation Ground Pongo Plays : Bee Wine,

Henry LivingsThe Rifle Volunteers and

_Conciliation

The Section Double Bill, comprisin gAnna-Luse and The Diabolist David Mowa t

7 :84 Theatre Company Unruly Elements

John McGrat hNottingham Theatre Trust Limited Lilywhite Lies

Alun Richard s

(c) Neglected PlaysBolton : Octagon Theatre Trust Limited The Milk Train Doesn't Tennessee Williams

Stop Here Any MoreThe Mock Doctor Moliere, translated by

John WoodCentury Theatre Limited Moby Dick - Rehearsed Orson WellesExeter : Northcott Devon Theatre and Arts Centre The Fair Maid of the West Thomas HeywoodLondon : Hampstead Theatre Club Limited Awake and Sing Clifford OdetsWorthing and District Connaught Theatre Trust He Who Gets Slapped Leonid Andreyev, trans

Limited lated by Grigori Zilbourg_York Citizens' Theatre Trust Limited A Yorkshire Tragedy Anonymous

65

Table F National Manuscript Collection of Contemporary Writer s

The following accessions were made by the National Manuscript Collection o fContemporary Writers during the year ended 31 March 197 2

Patric DickinsonCollection of manuscripts, typescripts and inscribed book s(bought from Dr J . Schwartz for the University of Birmingham )

Olivia ManningManuscript of a novella, Ladies without Escort(bought from the author for the British Museum)

John MasefieldThree holograph manuscripts(bought at a sale at Crewkerne for the British Museum)

Ezra PoundManuscript material relating to the writing ofEzra Pound's Kensington, including letters from T . S . Eliot, 1908-2 1(bought from Miss Patricia Hutchins for the British Museum )

Stevie SmithManuscript of Novel on Yellow Paper(bought from Sotheby's for the University of Hull )

66

Table G Special Funds

Beneficiaries during the year ended 31 March 197 2

H . A. newFundCapriol SingersColin Carr ('cello)Susan Moffat (violin)Stephen Prat t

Mrs Thornton FundRobert ClatworthyMichael KidnerBryan Kneal eJustin KnowlesGeoffrey Smedley

Compton Poetry FundUniversity of Hull

Henry and Lily Davis FundAnthony Bailes (lute)Angela Brownridge (piano)Brian Burrows (tenor)Shauna Hippisley (flute)Alain Judd (bass-baritone)Peter Knapp (baritone)Nina Martin (violin)Marilyn Minns (soprano)

_ Guilhermina Suggia Gift for the'CelloRobert CohenTanya HuntSteven Isserli sRichard LesterMarius May

5010 0605 0

25 05 0

30025 0100

1,000

42 5300200200200240150750

15 0250125125100

67

Table H Arts Council exhibitions held in Great Britai nduring 1971/72

Note :L Exhibited in LondonR Exhibited in the Region ss Exhibited in Scotland

w Exhibited in Wales

England Paintings, drawings, sculpture, etc WR Painting 1964-67L Art in Revolution R Large Paintings

wLR Blow-Up SR ConstructionsL Arnold Bocklin 1827-1901 LR Designs for the TheatreR Bill Brandt : photographs R Early Works (small sculpture)L The Ceramic Art of China : jubilee exhibition R Eight Individual s

of the Oriental Ceramic Society R Sculpture 1960-67R Concrete Poetry SR Henry Moore (sculpture and drawings)L Flemish Drawings of the 17th century from R Seven Sculptors

the Lugt Collection R Twentieth-century Drawings 1L `From Today Painting is Dead' : the R Twentieth-century Drawings 2

beginnings of photographyWR Barbara Hepworth Exhibition temporarily taken over from th e

L Ferdinand Hodler 1853-1918 Scottish Arts Council :SR Indian Paintings from Court, Town and Village R David Octavius Hill and Robert Adamso nL Interval Exhibition : Large Paintings 1821-4 8L Henri Laurens 1895-195 4L 11 Los Angeles Artists Exhibitions temporarily taken over from theL Daniel Maclise 1806-1870 Welsh Arts Council :

LR Mary Martin, Kenneth Martin R WorkR Masterpiece : Treasures from the Collection R Worship

of the Royal Photographic Societ yL Mir6 Bronzes Original prints

WR Erwin Piscator : work in the theatre 1920-66 The Arts Council Collection :L Bridget Riley R Eight English PrintmakersL Rothko : paintings 1948-70 LR New Prints 2L Rietveld 1888-1964 LR New Prints 3R Seligman Collection of Oriental Art LR New Prints by Denny, Dine, Hockney, KitajL Serpentine Gallery : exhibitions of young artists R New Prints by Kitaj and Paolozz i

(1) Brookes, Hepher„Hutn, Mealing, Wyndham R Original Prints 1(2) Hainsworth, Loveless, Miller, Richardson, R Original Prints 2

Tillyer R Pop Prints(3) Barnard, Claridge, Coles, Martin, Oginz,

Stokes, Tebby Loan Collection :(4) Cartwright, Finn, North, Shepherd, Ward SR Kelpra Print s(5) Clucas, Cockrill, Jones, Knox, McLean ,

Suckling Reproductions :(6) Bird, Harris, Hostler, Ingram, Naylor, Orr, R Georges Braqu e

Tagg, Wilson R Pieter Breughel the Elde r(7) Brick, Gattward, Herbert, Lanyon, Murphy, R Canaletto

Percy R Human Figure in European Painting 3R Matthew Smith WR Wassily Kandinsk y

LR Snap! (organised jointly with Welsh Arts Council) R Monet and his ContemporariesR Helen Sutherland Collection LR Prehistoric PaintingsL Systems R Rembrandt and his ContemporariesL Tantra : an exhibition exploring this Indian R Still Life

cult of ecstasy R Vincent van GoghR Young Contemporaries 1971

Seventy-two exhibitions were held during th eThe Arts Council Collection : year (261 showings, including twenty-seven held i n

R Arts Council Collection 1967-68 the Hayward Gallery, the National Portrai tR Arts Council Collection 1968-70 Gallery, the Serpentine Gallery, the Victoria an dR Arts Council Collection : small paintings and Albert Museum and the Whitechapel Art Gallery)

drawings

68

Note :E Also exhibited in England

Scotland

Art from the Faroe IslandsArt SpectrumAwards to Artists exhibitio nThe Belgian Contribution to Surrealis mCoia CaricaturesAlbrecht Diirer 1471-1528Katie Horsman Pottery/Archie Brennan Tapestry

E Jessie M. King 1875-1949Gerald LaingLocations EdinburghThe World of Bud Neil lNew York Pop Print sSir William Quiller Orchardson, RA

Paintings and Prints from the Scottish Art sCouncil Collectio n

Scottish Realis mSelection from the Scottish Arts Counci l

Collectio nWemyss Ware

Wales

Art Spectrum - Wale sEarly Christian Monuments of Wales50-odd PostersIndustrial DevicesRecording Wales 2 : ChapelsRecording Wales in Maps : Part on eRecording Wales in Maps : Part twoScoop, Scandal and Strife

E Snap! (organised jointly with the Arts Councilof Great Britain)Worship

Exhibitions temporarily taken over from th eArts Council of Great Britain :

ConstructionsIndian Paintings from Court, Town and VillageHenry MooreNew Painting 1961-64

The following exhibitions were shown outsideScotland:

D. O . Hill 1802-70, Robert Adamson 1821-4 8shown in Londo n

Jessie M. King 1875-1949 shown in Londo n

Twenty-one exhibitions (including four fromEngland) were held in twenty-four differen tbuildings in eighteen centres (fifty-seven showing sin all)

Exhibitions temporarily taken over from theArts Council of Great Britain :Painting 1964-67Still Life (reproductions)

Arts Council of Great Britain exhibitions shownby them in Wales :Blow-UpBarbara HepworthWassily Kandinsky (reproductions)Erwin Piscator : work in the theatre 1920-66

Sixteen exhibitions (including six from England )were held in fifteen different buildings in twelvecentres (twenty-nine showings in all)

69

The Arts Council of Great Britain

Revenue and expenditure account for the year ended 31 March 197 2

1970/7 1£

£

7,268,124 General expenditure on the arts in England (see Schedule 1) 9,101,33 5

420,092 General operating costs in England (see Schedule 2) 496,51 4

45,633 Capital expenditure transferred to capital account 32,674

2,461 Reserve for capital purchases 11,679

1,066,500 Grant to Scottish Arts Council 1,334,862

585,000 Grant to Welsh Arts Council 963,235

14,132 Balance carried down

18,45 3

£9,401,942

£11,958,75 2

127,500 Balance carried forward to Balance Sheet

145,95 3

£127,500

£145,953

70

1970/7 1

9,300,000 Grant in Aid : HM Treasury 11,900,000

43,053 Provision for grant and guarantees in previous year not required 32,448

17,126 Transfer from Reserve for capital purchases 2,46 1

Sundry receipts _Donations 6,50 0

Interest : bank and investment 8,93 0

Proceeds of sale of assets 3,724

Miscellaneous 4,68 9

41,763 23,84 3

£9,401,942 _ £11,958,75 2

113,368 Balance brought forward at 1 April 1971

- 127,500

14,132 Balance brought down 18,45 3

£127,500-- -

-

- L145,9S3

7 1

The Arts Council of Great Britai n

Balance Sheet as at 31 March 1972

Liabilities1971

Capital accoun tBalance as at 31 March 1971 404,96 4Add : Capital expenditure during year transferred from -Revenue and expenditure -account

32,674437,63 8

Less : Book value of assets sold or written off during year

12,94 8404,964

- 424,690

C Carried forward

fA 4

72

Assets

Leasehold property105 Piccadilly.Improvements at cost as at 31 March 1971

36,166Additions at cost

58 1

Hayward GalleryImprovements at cost as at 31 March1971

20,50 0Addiiions at cost

11,28931,78 9

56,666

68,53 6

Ot6c eequipmen tAt valuation as at 31 March 1956 and additions a tcost less items sold or written offto31March1471

42,08 7Addiiions at cost

-58649-67 3

Less : items sold or written 6ff-

771 -

42,097

48,902

Motor vans and carsAt cost as at 31 March 1971

7,174Additions at cost

1,3558,529

Less : items sold or written off

854

Cell o100--At- aluation as at 31-March 1960 100

Concert hall equipmentAt valuation as at 31 March 1956 and additions atcost less items sold or written off to 31 March 1971 14-101

Additions at cost 75314,85 4

Less : items sold or written off 2.126

14,101 2,72 8

Curtain and costumes73,250 Diaghilev and de Basil Ballets - at cost 73,250

Art exhibition equipmentAt valuation as at 31 March 1956 and additions a tcost less items sold or written off to 31 March 1971 16,45 0

Additions at cost 62417,074

Less : items sold or written off 7,197

16,450 9,87 7

£209,828 Carried forward £221,068

73

Balance shee t(continued)

Liabilities (continued)197 1

404,964 Brought forward 424,690

127,500 Revenue and expenditure account 145,95 3

151,753 Special funds (see Schedule 6) 163,60 7

18,497 Reserve for special art projects 18,49 7

383,112 Grants and guarantees outstanding 504,52 9

2,461 Reserve for capital purchases 11,679

Credit balancesSundry creditors and accrued liabilities 212,91 3Interest free loan 4,03 7Due to Welsh Arts Council 20,330

208,648 237,280

Note :No provision has been made for depreciation of assets : renewals are charged to Revenue .

Chairman : R . P . T. Gibso nSecretary-General : Hugh Willat t

£ 1,296,935

£1,506,23 5

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation sthat 1 have required and I certify, as the result of my audit, that in my opinion this Account and Balance Shee tare properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britai nand the state of their affairs .Signed : D. B . PitbladoComptroller and Auditor General, Exchequer and Audit Department, 12 July 1972

74

Assets (continued)- -1971

£ £ £

209,828 Brought forward 221,06 8

Works of artAt cost as at 31 March 1971 187,708

Additions at cost 10,479

- 198,187Less : items sold or written off 2,00 0

187,708 196,18 7

Reproduction sAt valuation as at 31 March 1957 and additions a tcost less items sold or written off to 31 March 1971 7,42 8

Additions at cost 77,428 7,43 5

404,964 - 424,69 0

151,753 Special funds (see Schedule 7) 163,607

Loan to associated organisationSecured by mortgage :Balance as at 31 March 1971 1,87 5

Less : repaid during year 12 5

1,875 1,750

Investments4j per cent British Electricity guaranteed stock 1974/79 (Market value £2,553) 2,41 95 per cent Treasury Bonds 1986/89 (Market value £554) 647

Equities investment fund for charities (Market value £8,409) 3,08 2

-

-

6,148 6,148

597,966 Grants and guarantees paid in advance 734,35 0

677 Restaurant and bar stocks 85 7

Debit balance sSundry debtors and prepayments 95,076Due from Scottish Arts Council 9 5Due from Welsh Arts Council 25,000

Expenditure on future exhibitions in preparation 15,77 2110,824 135,943

CashOn bank deposi t

--

On current accoun tOn dollar accountImprest sIn hand

22,72 8

£1,296,935

20,00 017,53 1

7 91,24 1

3938,890

£1,506,235

75

The Arts Council of Great Britain

Schedule 1

General expenditure on the arts in England for the year ended 31 March 197 2

The Royal Opera, Sadler 's Wells Opera, the Royal Ballet,National Theatre and Royal Shakespeare Companies (see Schedme 3) 3,468,90 7

Music

Grants and guarantees (see Schedule 3) - 1,517,70 5

Opera for all :

-

-

- -Gross expenditure 59,572 -Less: Revenue

-

- - --22,899 --- -- --

- -

36,673

Wigmore Half: -

Gross expenditure -- 31,23 3Less : Revenue

--- -16,081 -

-

- 15,152Less : surplus on Wigmore Hall catering- 656 - -

--

- - 14,496 - -- 1,568,874

Drama

Grants and guarantees (see Schedule 3) 1,825,83 6Scheme expenses

- - 1,91 5- 1,827,75T

Touring

(see Schedule 5) 340,04 f

Art

Grants and guarantees (see Schedule 3) 112,206Net cost of exhibitions (see Schedule 4) 236,65 6Hayward Gallery 76,37 5Hayward Gallery bookstall 1,63 3Serpentine Gallery 2,505 -

317,169 -

Art film tours :Gross expenditure 10,300Less : Revenue 4,556

5,74 4

Art films :Gross expenditure 33,17 1Less : Revenue 1,303

31,86 8Work in schools 225 -

467,21 2

Literature

Grants and guarantees (see Schedule 3) 63,792Poetry library 596Writers' tours and writers in schools 4,258

68,64 6

Festivals

Grants and guarantees (see Schedule 3) 52,84 1

Arts associations

Grants and guarantees (see Schedule 3) 472,11 4

Carried forward £8,266,386

76

Brought forward 8,266,386

Projects, artscentres and clubs Grants and guarantees (see Schedule 3) 61,79 6

Transport subsidy Grants (see Schedule 3) 2,67 5

Education in the arts Grants and guarantees (see Schedule 3) 146,16 2

Training course in arts administratio n_(Polytechnic School of Management Studies administration) 6,316

152,478

Housing the arts Grants (see Schedule 3) 618,000

Net expenditure as per Revenue and expenditure account £9,101,335

77

The Arts Council of Great Britai n

Schedule 2

General operating costs in England for the year ended 31 March 1972

Salaries and wages :MusicDram aArtLiteratur eFinanceAdministration

Superannuation

Travelling and subsistence

Rent and rates

Fuel, light and house expenses

Publicity and entertainmen t

Postage and telephone

Stationery and printing

Professional fee s

Office and sundry expense s

Enquiries, surveys and investigation

Total as per Revenue and expenditure account

£496,51 4

£ £

36,04934,15438,10012,69954,10 880,19 3

255,30 345,731

301,03 4

13,403

87,963

24,35 8

17,240

13,840

7,106

1,78 1

14,96 8

14,821

78

The Arts Council of Great Britain

Schedule 3

Grants and guarantees for the year ended 31 March 197 2(including subsidies offered but not paid at that date)

Royal Opera House, Covent Garden Limited

1,640,00 0

Sadler's Wells Trust (Coliseum) Limited

1,118,15 3

National Theatre Board

415,72 4

Royal Shakespeare Theatre

295,03 0

Total as per Schedule 1

£3,468,907

Music

OperaEnglish Opera Group Limited 53,00 0New Opera Company Limited 12,40 0Handel Opera Society 4,50 0Regional Opera Trust Limited (Kent Opera) 3,60 0London Opera Group 3,00 0Intimate Opera Society Limited 2,25 0Opera Players Limited 85 0Sacred Music-Drama Society 55 0Chelsea Opera Group 42 5Kentish Opera Group 37 0Figaro Opera Group 30 0University College London Music Society 30 0Oxford University Opera Club 25 0Opera Federation 200Cambridge University Opera Company Limited_ 15 0Polyphonia Limited 100

82,24 5

BalletLondon Festival Ballet Trust Limited 150,000Mercury Theatre Trust Limited (Ballet Rambert) 90,000Ballet for All 55,000Contemporary Dance Trust Limited 29,000Northern Dance Theatre Limited 20,000Educational Dance-Drama Theatre Limited 5,08 5Dance for Everyone Limited 3,72 5Moving Being Enterprises 1,450

354,26 0

OrchestrasLondon Orchestral Concert Board Limited 230,500Western Orchestral Society Limited 185,000City of Birmingham Symphony Orchestra 110,00 0Halle Concerts Society 110,00 0Royal Liverpool Philharmonic Society 110,00 0Northern Sinfonia Concert Society Limited 42,00 0Eastern Authorities Orchestral Association 23,075

Carried forward

£810,575 £436,505

79

Schedule 3(continued)

Brought forwar dMusic (continued) Orchestras (continued)

South East Region Orchestral Concerts :Folkestone CorporationEastbourne County Borough Counci lHastings County Borough Counci lMedway Towns Joint Committee for Arts and EntertainmentDorking Urban District Counci l

Guildford Corporatio nBexhill Corporatio n

Haydn-Mozart Societ yMidland Sinfonia Concert Society LimitedBrighton Philharmonic Society LimitedBristol Sinfonia Limite dRobert Mayer Concerts Society LimitedThames Concerts SocietyCheltenham Chamber Orchestra AssociationNewbury String Players

Concerts_

National Federation of Music Societie sLondon Orchestral Concert Board LimitedMacnaghten ConcertsAldeburgh Festival :_Snape MaltingsPark Lane Group LimitedMusic No wSummer School of Music LimitedJazz Centre Society LimitedThe People BandMusicians' Co-operativeNational Trust Concerts Society LimitedCannon Hill Trust LimitedMuseum of Modern Art Limited (Oxford )Music Media LimitedMusic at HighamOxford University Tape Recording Societ yEly Music CommitteeSociety for the Promotion of New Musi cThames Concerts Societ y

FestivalsAldeburgh Festival Associatio nBirmingham Triennial Music Festiva lBishop's Stortford Arts FederationBoxhill Music Festival Societ yCambridge Festival Association LimitedCheltenham Arts Festivals Limite dGreat Horwood Festival of the Arts

Brought forward

£

£

£

810,575

436,50 5

3,39 83,02 72,97 52,4502,2501,750

30016,15 08,500

-- 7,0006,50 02,750

82 6800500

200

853,80 1

85,00 033,00 03,0403,00 02,20 0

- 1,8001,000

91 445039035030016 516 5

805 04 42525

131,99 8

6,00 05,00 0

10050

1,1006,000

100

18,350 1,422,304

80

£

£Brought forward 18,350

1,422,30 4Haslemere : The Dolmetsch Foundation 85 0London : Camden Borough Council 4,500

ICA Limited : ISCM Festival 1971 11,750Maidstone Area Arts Council 550Oxford : English Bach Festival Trust 6,000St Albans : International Organ Festival Society 500Stour Music Committee 275Three Choirs Festival Association Limited 4,000Tilford Bach Society 800Wangford Festival Company Limited 200Wavenden Allmusic Plan 500Wooburn Festival Society 125

48,400

Other activitiesAwards to Artists 20,35 6British Council (Recordings) 7 , 500Royal Albert Hall Appeal Fund 5, 000Youth and Music Limited 5,000Royal Liverpool Philharmonic Society (Conductors' Seminar) 4,000Bedworth Urban District Council (Piano) 1 ,000County Borough of Birkenhead (Piano) 1,000Music Information Centre Trust 1 ,000Record Supervision Limited 900Contemporary Concerts Co-ordination 45 0Leigh Corporation (Piano) 35 0National Music Council of Great Britain 225Talbot Lampson School for Conductors and Accompanists 100Manchester Tuesday Midday Concerts Society (Piano) 7 0Yggdrasil (Electrical Equipment) 50

47,00 1

Total as per Schedule 1

£1,517,705

Drama

Billingham Forum Theatre 12,000Birmingham : Cannon Hill Trust Limited 33,35 0Birmingham Repertory Theatre Limited 84,00 0Bolton : Octagon Theatre Trust Limited 27,31 0Bristol Old Vic Trust Limited 67,350Bromley Theatre Trust Limited 11,650Cambridge Theatre Company Limited 13,24 6Canterbury Theatre Trust Limited 18,750Cheltenham Everyman Theatre Company Limited 25,150Chester : Gateway Theatre Trust Limited 19,500Chesterfield Civic Theatre Limited 12,500Chichester Festival Theatre Productions Company Limited 5,000Colchester Repertory Company Limited 34,800Coventry : Belgrade Theatre Trust (Coventry) Limited 60,21 4Crewe Theatre Trust Limited 12,500Derby Playhouse Limited 22,350

Carried forward

£459,670

8 1

Schedule 3(continued)

Brought forward 459,670Drama (continued_)

Exeter : Northcott Devon Theatre and Arts Centre 45,59 6Farnham Repertory Company Limited - 15,30 0Guildford : Yvonne Arnaud Theatre Management Limited 25,01 0Harrogate (White Rose) Theatre Trust Limited 17,35 0Hornchurch Theatre Trust Limited 25,45 0Ipswich Arts Theatre Trust _

29,55 0Kingston-upon-Hull : Hull Arts Centre Limited 6,48 0Lancaster : Century Theatre Limited 49,83 0Leatherhead : Thorndike Theatre (L.eatherhead) Limited 39,694Leeds : Interplay Trust 680Leeds Theatre Trust Limited 37,843Leicester Theatre Trust Limited 32 52 1Lincoln Theatre Association Limited 34,375Liverpool : Merseyside Everyman Theatre Company Limited 28,60 0Liverpool Repertory Theatre Limited 59,900London : Caryl Jenner Productions Limited 32,14 1

English Stage Company Limited _

105,400Greenwich Theatre Limited 30,779Hampstead Theatre Club Limited 12,450Inter-Action Trust 19,450Mermaid Theatre Trust Limited 45,790National Youth Theatre 8 950New Shakespeare Company Limited - 2,750Pioneer Theatres Limited 10,000Polka Children's Theatre Limited 2,644Theatre Centre Limited -

22,000Manchester : Sixty-Nine Theatre Company Limited 31,500Newbury: Watermill Theatre Limited 72 5Newcastle upon Tyne : Tyneside Theatre Trust Limited 31,26 7Northampton Repertory Players Limited 21 500Nottin

am Theatre Trust Limited 82,88 3Oldham Repertory Theatre Club --

11,000Oxford : Meadow Players Limited 64,750Plymouth Arts Guild _

5,000Richmond Theatre Productions Limited 11,350Salisbury Arts Theatre Limited 26,850Scarborough Theatre Trust Limited

- 4,650Sheffield : Crucible Theatre Trust Limited 89,91 0Stoke-on-Trent and North Staffordshire Theatre Trust Limited 3. 5,37 1Sussex University (Gardner Centre for the Arts) 3,60 0Watford Civic Theatre Trust Limited 19,50 0Worcester Arts Association (SAMA) Limited 12,350Worthing and District Connaught Theatre Trust Limited 22,550York Citizens' Theatre Trust Limited 39,07 8

Action Space -

20 0Aurora Productions 34 5Basement Theatre Limited -

3,024The Black Box Theatre Partnership _

5,50 0Camden Playhouse Productions Limited

Carried forward

£1,731,926

82

Brought forward 1,731,92 6The Combination Limited 8,750The Dark and the Light Theatre Limited 1,350The Freehold Theatre Company Limited 5,500Hana No Mask Company 150Incubus Theatre Company 34 6Jean Pritchard Management Limited 25 8KenKindred Centre for Playwrights

47 4King's Head Theatre Club

3,28 6Lancaster Orbit Limited

35 0London La Mama Troupe

600London Theatre Group

345Low Moan Spectacular

2,05 0Mokadi Productions Limited

25 0Original Productions 25 8Oval House 165

The People Show 2,00 0People Time/Space 1,00 0Pip Simmons Theatre Group 7,31 1Portable Theatre Limited 9,627Quipu Productions Limited 3,13 0Recreation Ground 75 9Richmond Fringe Theatre Group 12 1The Section 31 67 :84 Theatre Company 1,61 3The Soho Theatre 3,320Theatre 84 1,050Theatre Projects Lighting Limited 35 1TP Productions 239The Triple Action Theatre Group 500The Welfare State 1,12 5

Association ofBritish Theatre Technicians

6,322British Centre of the International Theatre Institute

375British Drama League

2,000British Institute of Recorded Sound

300Council of Repertory Theatres

500Theatres' Advisory Council

500

Bursaries 26,21 9

Total as per Schedule 1 £1,825,83 6

Art

Bath : Holburne of Menstrie Museum 50 0Birmingham : Cannon Hill Trust Limited 3,50 0

Ikon Gallery Limited 2,500Bristol : Amolfini Gallery Limited 7,000Colchester : Victor Batte-Lay Trust 500

Carried forward £14,000

83

Schedule 3(continued)

Brought forwardArt (continued)

Folkestone : New Metropole Arts Centre LimitedLeeds : Park Square Gallery Limite dLondon : Action Space

Art Information Registry LimitedArtists International Associatio nArtist Placement Group Research LimitedGreenwich Theatre LimitedInstitute of Contemporary Arts LimitedMorley CollegePhotographers' Gallery LimitedPrintmakers' Counci lProject 84Space Provision (Artistic, Cultural and Educational) LimitedSpace Structure Worksho pUK National Committee of the International Association of ArtWhitechapel Gallery Limited

Newlyn Society of ArtistsNorfolk Contemporary Art SocietyNottingham : Midland Group GalleryOxford : Bear Lane Gallery Limited

Museum of Modern Art LimitedPenwith Society of ArtsSunderland : Ceolfrith Arts Centre

Grants and guarantees towards exhibitions :Birmingham : City Museum and Art Gallery : Modern French TapestriesBrighton Polytechnic : Photographs by Jim Arnoul dBristol Arts Centre : Dorothy's Umbrell a

City Art Gallery : Adrian Heat hCambridge : Kettles Yard Gallery : Cunio Amiet/Giovanni Giacomett iEastbourne : Towner Art Gallery : Inigo Jone s

The Lutyens FamilyExeter College of Art : Prints by Patrick Caulfiel dHarrogate Festival of Arts and Sciences : Artism/Lifeis mLancaster : University of Lancaster : Alan Davie/David Hockne yLeigh Corporation : Henry Moore Sculpture, Drawings and GraphicsLiverpool : Walker Art Gallery : Italian PaintingLondon : Camden Festival Action Structures

National Book League : Word and ImageNational Puppet Theatre Centre : Puppet Theatre'72Royal Academy of Arts : Contemporary SculptorsRoyal Borough of Kensington and Chelsea Central Library : Arthur HughesRoyal Opera House : Theatre Designs since 194 5Slade School of Art : Centenary ExhibitionSouth London Art Gallery : John Dodgson (1890-1969 )The Victorian Society : Future of the Pas t

Manchester : Whitworth Art Gallery : Big Paintings for Public Place sDrawings and Prints by Richard HamiltonNorthern Young Contemporaries 197 1

Norwich : Castle Museum : 20th Century Hungarian Drawings

Carried forward

14,0003,0001,5001,0004,000

5003,0001,0005,200

8503,130

40075

3,2501,000

4009,0001,00 0

1506,7502,3009,52 21,750

50073,277

50 015 015020 010015015011 050025 550027950045 0300

2,500500

2,00 01,000

20020 075 030 040 0

65

£12,209

£73,27 7

84

£

£

Brought forward

12,209

73,277

Nottingham : University of Nottingham : Portraits by Francis Cotes

25 0

Plymouth : City Art Gallery : Paintings by Karl Weschke

22 5

Reading : Museum and Art Gallery : Paintings and Drawings of Thomas and Paul Sandby

250

Sunderland : Bookshop Gallery : John Furnival Retrospective

20013,13 4

Works of art for public buildings :Leicestershire Education Committee

1,250

University of Exeter

250

County Borough Council of Wolverhampton

3001,800

Provision of studios :London : Space Provision (Artistic, Cultural and Educational) Limited

6,943

Awards to artists :Commissions

850

Discretionary Awards

16,20217,05 2

Total as per Schedule 1

£112,206

Literature

Apollo Society Limited 1,200Brighton Poetry Society 60British Institute of Recorded Sound 500Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 1 9Cheltenham Arts Festivals Limited 1,000International PEN 1,250London : Institute of Contemporary Arts Limited 600

The London Library 3,000Mermaid Theatre Trust Limited 500Thomas Harrison Memorial Fund 50Tribune Poetry Readings -

160National Book League 2,800National Manuscript Collection of Contemporary Writers Fund 24 3Norfolk Education Committee 50Poetry Book Society Limited 3,500Poetry Society 11,500Shakespeare Birthplace Trust 850Society of Barrow Poets 605University of Essex 50University of Reading 100Wooburn Festival Society 3 0

Literary magazines :`Agenda' 1,200`Critical Quarterly' 1,200`London Magazine' 2,040`Modern Poetry in Translation' 1,500

Carried forward

£5,940 £28,067

8 5

Schedule 3(continued)

Brought forward

_Literature

Literary magazines : (continued )- -

- -Ccontinued)

`New Writers'`Outposts '`The Review'_`Stereo Headphones '

Little presses :- Anvil Press-

Association of Little PressesCarcanet PressFulcrum PressLatimer New Dimensions LimitedSonus PressWriters Forum

Help for writers and publishers :Grants to writersGrants to translatorsGrants to publishersGrants to poets (Publication Awards )

Total as per Schedule 1

Festivals

Bath Festival SocietyBattle Festival SocietyBrighton Festival Society LimitedDorchester Abbey Festival CommitteeHarrogate Festival ofArts and Sciences_ Limited_King's Lynn : St George's Guildhall LimitedLittle Missenden Festival CommitteeLondon : Festivals ofLondon 1972Ludlow Festival Society LimitedNewcastle-upon-Tyne FestivalJo_int CommitteeNottingham Festival Association Limite dSaddleworth Festival ofthe ArtsSevenoaks : Paean Festival SocietyStroud Festival LimitedWindsor Festival Society Limite dYork Festival Committee

Total as per Schedule 1

Arts associations

Eastern Arts AssociationEast Midlands Arts AssociationGreater London Arts Association_

_Lincolnshire Associatio n

Carried forward

£

£

5,940

28,06 7

350-- -- 200

1,200-

7 5

-

750 -

- --

-- 200 -- -

250 -

280600

--

--

-

300 --

-_

--

-

120 --- -

- 2,500

21,710 --

-

2,750500500 -

-

-

- 25,460

£63,79 2

6,00 035 9

6,00 0500

5,000_ 5,000

45 6-- 6,006-

-- -

--- ___3,37 6--3,0003,000

- -1,000-- -

750- - - -

-

2,500-

-

5,0005,000

-

-

£52,84 1

13,33016,750

-

38,830- -

-

-

-23,250

£92,160

86

Brought forward 92,160

Merseyside Arts Association 22,11 0

Mid Pennine Association for the Arts 300

Northern Arts 145,85 7

North West Arts Association 63,01 0

Southern Arts Association 35,250

South Western Arts Association 46,55 0

West Midlands Arts Association 29,45 0

Yorkshire Arts Association 37,427

Total as per Schedule 1 £472,11 4

Projects, arts

Institute of Contemporary Arts Limited 25,000

centres and clubs

Round House Trust Limited 7,500

Harlow Theatre Arts Trust 4,000

Swindon : Wyvern Arts Trust Limited 4,000

Sussex University : Gardner Centre for the Arts 3,450

Birmingham : Cannon Hill Trust Limited 3,000

Liverpool : Great Georges Project 2,500

Birmingham Arts Laboratory 2,00 0

Hertfordshire and Essex Malthouse Trust Limited 1,70 0

King's Lynn : St George's Guildhall Limited 1,500

Electric Theatre Company 000

Folkestone Adult Education Centre 750

Centerprise 500

The Combination Limited 500

Hastings : Stables Trust Limited 50 0

Oxford Community Workshop 500

Space Structure Workshop 50 0

Arts Council for North Hertfordshire 40 0

Gravesend Arts Council 400

Principal Edwards Magic TheatreVictor Corti

300300

Basildon District Arts Association 250

Anglian ArtsTransmedia ExplorationPagesHemel Hempstead Arts Trus tSt Albans and District Arts Council

20 020 019615 0

100

Waltham Holy Cross Arts CouncilBeccles and District Arts Society

10050

Tring Arts Society 50

Total as per Schedule 1 £61,796

Trans ort subsidy

Canterbury Theatre Trust Limited

811'East Grinstead : Myles Byrne Projects Limited (Adeline Genee Theatre)

25

Farnham Repertory Company Limited

15 0

Guildford : Yvonne ArnaudTheatre Management Limited

30 0

Carried forward

£1,275

87

Schedule 3(continued)

Brought forward

1,27 5Transport subsidy

Leatherhead : Thorndike Theatre (Leatherhead) Limited

300(continued)

Oxford : Meadow Players Limited

650Oxford University Theatre

450

Total as per Schedule 1

£2,675

Education in the

Musicarts

London Opera Centre for Advanced Training and Development Limited 64,24 0National Youth Orchestra of Great Britain 20,00 0Royal Ballet School 15,00 0Institute of Choreology 15,00 0Yehudi Menuhin School Limited 5,00 0Central Tutorial School for Young Musicians 3,500The Rehearsal Orchestra 1,250

123,990DramaLondon Academy of Music and Dramatic Art 5,00 0National Youth Theatre 5,00 0Bristol Old Vic Trust Limited 3,500East 15 Acting School Limited 2,000

15,500Polytechnic School of Management Studies : Training Course in Art s

Administration (Bursaries) 6,67 2

Total as per Schedule 1 £146,162

Housing the arts

Dram aBirmingham : Cannon Hill Trust Limited 4,00 0

Sir Barry Jackson Trust 29,00 0Bristol Old Vic Trust Limited 75,000Bromley Theatre Trust Limited 75,00 0Colchester New Theatre Trust 60,00 0Farnham Repertory Theatre Trust 7,500Lancaster City Council 25,000Leatherhead : Thorndike Theatre (Leatherhead) Limited 10,50 0Leicester City Council 30,000Norwich City Council 68,00 0Sheffield : Crucible Theatre Trust Limited 161,000Stratford-upon-Avon : Royal Shakespeare Theatre 15,000

560,00 0ArtLeeds : Park Square Gallery Limited 500

Arts centresBishop's Stortford : Hertfordshire and Essex Malthouse Trust Limited

12,000Darwen Borough Council

500Harlow Urban District Council

5,500Penzance : West Cornwall Arts Club

2,000

Carried forward

£20,000

£560,500

88

Brought forwardPeterborough Arts Theatre LimitedSkegness : East Lincolnshire Arts Centre LimitedSlough Borough Counci lWorkington Borough Counci l

Total as per Schedule 1

20,000

560,50010,0002,500

20,0005,000

57,500

£618,000

89

The Arts Council of Great Britai n

Schedule 4

Net cost of exhibitions for the year ended 31 March 1972

£

£Gross expenditure -

-

-

Transport 66,924

Organising 151,77 7

19,61 8Insurance

-

catalogues 52,41 4

Publicity 38,11 0

Materials 5,865

Hiring fees --

-

-

197334,905

39,748

Catalogue sales

38,20 9

Exhibition fees

20,29298,24 9

Net expenditure as per Schedule 1

£236,656

90

Less : Revenue

Admissions

The Arts Council of Great Britai n

Schedule 5

TouringGrants and guarantees for the year ended 31 March 1972

£

£Music

Welsh National Opera Company Limited

60,000

Glyndebourne Productions Limited

43,892

ScottishOpera Limited

17,202

Phoenix Opera Limited

16,000

Basilica Productions Limited

9,500

Royal Opera House Covent Garden Limited (Royal Ballet)

674

Moving Being Enterprises

230147,498

Drama

, Prospect Productions Limited

65,00 0

Candida Plavs Limited

21,000

National Theatre Board 1 I,L"U

Belgrade Theatre Trust (Coventry) Limited 8,300

Meadow Players Limited 7,600

Triumph Theatre Productions Limited 1,500

Nottingham Theatre Trust Limited 1,200

7 :84 Theatre Company 930

Romilly Productions Limited 20 0

English Stage Company Limited 19 0

Quipu Productions Limited 18 9

London Theatre Group 100

143,209

Theatres

Alexandra Theatre (Birmingham) Limited 10,000Grand Theatre Wolverhampton Limited 5,000Newcastle-upon-Tyne County Borough Council (Theatre Royal) 5,000Oxford Theatre Productions Limited (New Theatre) 5,000Kingston-upon-Hull New Theatre Company Limited 3,700Arts Theatre of Cambridge Limited 3,000Bury St Edmunds Theatre Management Limited 2,300Malvern Festival Theatre Trust Limited 2,000Myles Byrne Projects Limited (Adeline Genee Theatre) 2,00 0County Borough Council of Rotherham (Civic Theatre) 2,000Scunthorpe Borough Council (Civic Theatre) 2,000Southampton University (Nuffield Theatre) 1,500

43,500

Carried forward £334,207

9 1

Schedule 5(continued)

Brought forward

334,20 7

Add : Cost of administrationFees, salaries and wages 11,31 0

Travelling and subsistence 2,18 1

Publicity 17,81 4

Postage and telephone 1,27 5

Stationery and printing 23 4

Office and sundry expenses 14 4

Theatre surveys 88 433,84 2

368,04 9

Less : RevenueNorthern Arts 10,000

City of Manchester 5,000

Merseyside Arts Association 3,608

City of Leeds 2,000

Sunderland Corporation 2,00 0

City of Bradford 1,650Southern Arts Association 1,50 0

Yorkshire Arts Association 1,50 0

City of Newcastle 75028,008

Net expenditure as per Schedule 1

£340,04 1

92

The Arts Council of Great Britain

Schedule 6

Special funds as at 31 March 1972

£ £

£H. A . Thew FundCapital account 7,773

Income account :Balance as at 31 March 1971 10 1

Add : Income during year 70 1802

Less : Expenditure during year 27552 7

Creditors 1708,470

Mrs Thornton FundCapital account 5,124

Income account :Balance as at 31 March 1971 704

Add: Income during year 4201,124

Less : Expenditure during year 950174

Creditors 2035,50 1

National Manuscript Collection of Contemporary Writers FundCapital account 10,00 0

Income account :Balance as at 31 March 1971 71 4

Add : Income during year 4431,15 7

Less : Expenditure during year 268889

10,88 9

Compton Poetry FundCapital account 21,205

Income account :Balance as at 31 March 1971 4,730

Add : Income during year 1,7996,52 9

Less : Expenditure during year 1,5005,029

26,234

Carried forward £51,094

9 3

Schedule 6(continued)

Broughtforward 51,094

Henry and Lily Davis Fund -

- -Capital account 60,00 0_Income account :Balance as at 31 March 1971 7,726Add: Income during year

-7,61 8

- -

-- 15,344

Less : Expenditure during year 2,59112,75 3

-

Creditor 21 0-

-72,963-

The Guilhermina Suggia Gift

-

Capital account 8,75 9Income account :Balance as at 31 March 1971 1,065Add: Income during year 45 2

1,51 7Less : Expenditure during year 921

596 .--

Creditors 27 5-

- -

--- 9,63 0

The Miriam Licette Scholarship__Capital account :___Balance as at 31 March 1971

- 13,39 7-Add: SuMllus on sale of investments

-

-

-

_

5,250~ 18,647

Income account :Balance as at 31 March 1971 729Add : Income during year 906

- - --- - -

-

--

1,635-

Less : Expenditure during year '1071,528

20,175

Dio Fund_Capital account 2,_0. 00Income account 9

2,009

Miss O . E. Saunders Fund

-

- - - -Capital account 7,100Income account :Balance as at 31 March 1971 426Add : Income during year 210

636 -7,73 6

Total as per Balance Sheet £163,607

94

The Arts Council of Great Britai n

Schedule 7

Special funds : Assets as at 31 March 1972

Nominal Market

Boo kvalue

value

value

H_ A_ Thew Fund3 percent British Transport stock 1978/88 2,105 1,305 1,93 7

3j per cent conversion stock 2,810 1,124 2,76 8

Equities investment fund for charities 2,922 8,372 3,06 87,77 3

Debtors 123

Cash at bank 5748,470

Mrs Thornton Fund2j per cent consolidated stock 665 190 489

51 per cent conversion stock 1974 (PO issue) 200 203 203

3 per cent British Transport stock 1978/88 355 220 337

51 per cent funding stock 1982/84 110 99 100

5 per cent Treasury bonds 1986/89

1,825

1,359

1,58 8

Equities investment fund for charities

2,217

6,352

2,328

14 3

Cash at

National Manuscript Collection ofContemporary Writers FundManuscripts at cost

1,400

Debtors

75 1

Cash at bank

8,73 8

Compton Poetry FundAlbright and Wilson Limited 234 281 87 2

British American Tobacco Company Limited 200 2,400 1,01 0

Cadbury Schweppes Limited 300 1,260 722

Commercial Union Assurance Company Limited 80 1,616 650

County Council of Essex 51 per cent redeemable stock 1975/77 1,000 940 966

Distillers Company Limited 345 1,242 71 9

Dowty Group Limited ordinary shares 525 1,470 1,004

7 per cent convertible unsecured loan stock 1986/91 150 171 150

English and Scottish Investors Limited

800

5,760

1,590

Equities investment fund for charities 2,141

6,134 2,56 1

General Electric Company Limited : `B' shares 125

915 13 6

71 per cent convertible unsecured loan stock 1987/92 225

383 24 5

George G . Sandeman Sons and Company Limited 500

2,700 1,27 5

Grou p Investors Limited ordinary shares

1,120

3,584

1,28 0

Liverpool Corporation 5} per cent redeemable stock 1976/78 1,500 1,395 1,4i u

London Scottish American Trust Limited 600 3,540 1,68 0

Lyon and Lyon Limited 375 690 1,067

Royal Insurance Company Limited 105 1,890 72 7

Shell Transport and Trading Company Limited 250 3,050 29079

Debtors

1,42 4

Cash at bank

4,11 5

Carried forward

E23,970 £59,152

£51,09 4

95

Schedule 7(continued)

Brought forwar d

Henry and Lily Davis FundLondon County 51 per cent stock 1985/8 7Equities investment fund for charities

DebtorsCash at bank

The Guilhermina Suggia Gift3j per cent war stoc k3j per cent funding stock 1999/2004

DebtorsCash at bank

(Note : Messrs Coutts and Company act as Special Trustee to this fund .)

The Miriam Licette ScholarshipEquities investment fund for charitie sDebtorsCash at bank

Nominal Market Bookvalue value value

£ £ £

£23,970 59,152 51,094

50,000 42,000 33,50017,464 50,034 34,19 2

67,6922,9242,347

72,963

6,746

2,766

4,89 64,682

2,341

3,86 38,75 9

17 1700

9,630

9,019

25,839

18,14 7627

1,40120,175

Dio FundEquities investment fund for charitie sDebtorCash at bank

Miss O. E. Saunders FundFreehold propertyDebtor

Total as per Balance Sheet

674

1,93 1

£112,555 £184,063

1,7978

2042,009

7,100636

7,736

£163,607

96

The Scottish Arts Council

Revenue and expenditure account for the year ended 31 March 197 2

1970/71£

£

1,013,337 General expenditure on the arts (see Schedule 1)

1,197,06 7

83,188 General operating costs (see Schedule 2)

92,83 2

12,280 Capital expenditure transferred to capital account

91,46 8

1,235 Reserve for capital purchases

-

£1~t~40

L1,381,367

30,390 Balance brought down

2,82 7

55,503 Balance carried forward to Balance Sheet

52,67 6

£$

£55,503

98

1970/7 1

1,066,500 Grant from the Arts Council of Great Britain 1,334,86 2

6,908 Provision for grants and guarantees in previous year not required 7,55 7

4,637 Transfer from reserve for capital purchases 1,23 5

_

Sundry receipt sSale of 11 Rothesay Terrace, EdinburghDonations

__3__2,42 11,17 7_

Interest on deposit account

_Miscellaneous

99 729 1

1,605 34,88 6

30,390 Balance carried down 2,82 7

£1,110,040 £ ,

1,3

85,893 Balance brought forward at 1 April 1971

55,50 3

X5,893

5, 0 3

99

The Scottish Arts Counci l

Balance sheet as at 31 March 197 2

Liabilities

Capital accountBalance as at 31 March 1971

134,407Add: Capital expenditure during year transferred from Revenue and expenditure account

91,46 8225,875

Less : Book value of assets sold or written off during year

9,88 0134,40 7

1971

215,99 5

-71-3-4-,,W7 Carried forward

£215,99 5

100

Assets - --

--

1971 -- --

-

-

- -

Freehold property_11 Rothesay Terrace, EdinburghAt cost as at 31 March 1971 9,88 0_Less : Sale during year 9,880

5 Blythswood Square, GlasgowImprovements at cost as at 31 March 1971 8,326_Purchase of freehold 35,66 1

- -

- -

- 43,98 7-

-

9,880-

-

-

-

-

43,98 7

Leasehold property19/20 Charlotte Square, EdinburghImprovements at cost as at 31 March 1971 57,048_Additions at cost 48,95 4

---

65,374 --

- - 106,00 2

Office equipment

---

-- -_

At valuation as at 31 March 1955 and additions _at cost less items sold or written off to 31 March 1971 12,023 -

Additions at cost 2,32 5

12,023 14,34 8

Motor vans and cars_3,433 At cost as at 31 March 1971 3,43 3

Piano accoun t200 At valuation as at 31 March 1955 200

Art exhibition equipmen t_At cost as at 31 March 1971 -

- 6,35 8

Additions at cost 760

6,358 7,11 8

Works of ar tAt cost as at 31 March 1971 36,46 7_Additions at cost 3,768

36,467-- ---- -

--- -40,23 5

--- Reproductions672 At cost as at 31 March 1971 672

_

-

- _ -_£134,407

Carried forward

-

10 1

Balance shee t(continued)

Liabilities (continued)1971

134,407 Brought forward 215,99 5

55,503 Revenue and expenditure account 52,676

68,751 Grants and guarantees outstanding 41,504

1,235 Reserve for capital purchase s

Credit balancesSundry creditors and accrued liabilities 16,484Due to Arts Council of Great Britain 9 5

12,149 16,579

Note :No provision has been made for depreciation of assets : renewals are charged to Revenue .

Chairman of the Scottish Arts Council : Balfour of Burleig hSecretary-General : Hugh Willat t

£272,045

£326,754

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanation sthat I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet ar eproperly drawn up so as to exhibit a true and fair view of the transactions,of the Scottish Arts Council and of th estate of their affairs .Signed : D. B . PitbladoComptroller and Auditor General, Exchequer and Audit Department, 12 July 1972

102

1971Assets (continued)

- -

134,407 Brought forward 215,99 5

82,663 Grants and guarantees paid in advance _ 77,363

70 Coffee houses stock 97

_

--

50,376

Debit balancesSundry debtors and prepaymentsDue from Arts Council of Great Britai nExpenditure on future exhibitions in preparation

31,04 8

1,66132,709

Cash_On bank deposi t_On current account 388

- Imprests 52 -

In hand 150-

4,529-

- -- 590

£326,754

103

The Scottish Arts Counci l

Schedule 1

General expenditure on the arts for the year ended 31 March 1972

Music

-- Grants and guarantees (see Schedule 3) 586,62 1

Opera fo-r- al l_Gross expenditure 11,920Less: Revenue -

8,980-- 2,940

Ballet tour :Gross expenditure 7,80 8Less : Revenue 5,700

2,10 8-

Concerts :Gross expenditure 15,374Less : Revenue _ 10,077

--

- - - 5,29 7

- 596,96 6

--Drama Grants and guarantees (see Schedule 3) 282,60 0

Tours :Gross expenditure 11,19 1Less : Revenue 8,22 1

---- - 2,970285,570

Touring (see Schedule 4) 20,65 6

Art Grants and guarantees (see Schedule 3) - 37,20 4

Exhibitions :Gross expenditure 55,040Less : Revenue_ 7,13 6

47,904Blythswood Square Gallery, Glasgow 3,101

51,005

Art film tours :Gross expenditure 398Less : Revenue 18 9

_ 209Lecturers' fees and expenses 2,25 8Less : Fees received 693

1,56589,98 3

Carried forward £993,175

104

Brought forward 993,17 5

Literature Grants and guarantees (see Schedule 3) 23,220Poetry readings 1,778

_

Writers in schools 12 2Miscellaneous expenses

_

_1,838

26,95 8

Festivals Grants and guarantees (see Schedule 3) 85,73 4

Arts centres andclubs Grants and guarantees (see Schedule 3) 16,20 0

Housing the arts Grants (see Schedule 3) 75,00 0

-

- ------Net expenditure as per Revenue and expenditure account -

-- --------- - £1,197,067

105

Schedule 2

The Scottish Arts Counci l

General operating costs for the year ended 31 March 1972

£

£Salaries and wages

48,62 9

Superannuation 5,70854,33 7

Travelling and subsistence 6,19 9

Rent and rates 8,25 9

Fuel, light and house expenses 7,36 8

Publicity and entertainment 5,654

Postage and telephone 4,32 3

Stationery and printing 3,15 8

Professional fees 406

Office and sundry expenses

3 , 128

Total as per Revenue and expenditure account

£92,83 2

106

The Scottish Arts Council

Schedule 3

Grants and guarantees for the year ended 31 March 197 2(including subsidies offered but not paid at that date)

Music

OperaAberdeen : Albion Opera (Philomusica Society) 13 0_

Haddo House Choral Society 400Dundee : Tayside Opera 200

_Edinburgh Grand Opera Group 400Glasgow : Citizens' Theatre_ Limited ---1,000_

Glasgow Grand Opera Society 800_

_Scottish Opera Limited -271,689

274,61 9

BalletDundee Corporatio nGlasgow : Citizens' Theatre Limited_Scottish Theatre Ballet Limite d

Concerts_

_ Aberdeen :AberdeenChamberMusicClub__

Aberdeen Organ Recitals CommitteeHaddo House Choral-Societ y

_

Alloa and District Arts Guil dAlloa Music ClubArbroath and District Arts_ Guil dArran Music Society

-

220___

_100 _800 _

7 0468

_45 0- 2 9

Ayr Music Club -

650

-_ Badenoch_Arts Club 1- 8 0

Blairlogie Reading and Recreation Room 48_Bridge of Allan and District Music Club _220

-Cowal Music Club 20Cumnock Music Club 25 0Dingwall and District Arts Guild_ 740Dollar Music Society 650

_Dornoch Arts Committee 68 0Dumbarton Society _38 0

Music Club-Dumfries 265Dundee Chamber Music Club _

38 0_Dundee Organ Recitals Committee 70

Dundee University MusicalSociety______ 5 0Dunfermline Arts Guild 300Duns and District Arts Guild_ 861

_East Kilbride Music Club 5 0East Lothian Arts Association 100Edinburgh : Connoisseur Concerts Society _ 720

_

Edinburgh Organ Recitals Committee _ - 1.8_0 _Colin Kingsley

-- 50Martin Chamber Concerts Society 5. 00National Gallery Lunch Hour Concerts 2 7_New Town Concerts 500

_SaltireMusic Group 100

-Fortrose : Black Isle Arts Society 350_Gatehouse : Musical Society 160

Carried forward

£101618 £398,91 9

_ 2001,100

123,000 _124,300

107

Schedule 3(continued)

Brought forwardMusic (continued)

Concerts (continued)Girvan and District Arts Guil dGlasgow : John Currie Singers

Glasgow Chamber Music Societ yMasterconcerts LimitedScottish National Orchestra Clu b

Glenalmond Concert SocietyGlenkens and District Music Clu bGreenock Chamber Music ClubHamilton Civic Society Arts CircleHawick Music Clu bInvergordon Arts Societ yInverness Arts Guil dInverness Musical SocietyIrvine : Harbour Arts Centre

Irvine Music ClubKelso and District Music Societ yKilmardinny Music Circl eKilmarnock and District Arts Guil dKintyre Music Club (Campbeltown )Lanark Music ClubLinlithgow Arts GuildMelrose Music SocietyMoffat and District Musical SocietyMoray Arts ClubMusselburgh Arts Guil dNairn Music Clu bNorth Ayrshire Arts Centr eOban Arts GuildOrkney County Music Committe ePerth Chamber Music SocietyPitlochry Festival Society LimitedSt Andrews : St Andrews Music Club

Students Representative Council of the University of St Andrew sShetland Arts SocietySkelmorlie and Wemyss Bay Community Centr eSkye Arts Guil dSouth West Ross Arts SocietyStonehaven Music Clu bStranraer(Branch Wigtownshire) Music Associatio nStrathaven Arts GuildStrathearn Arts GuildStrathspey Arts ClubTain and District Arts Guil dTayvallich Village Hall CommitteeThurso Live Music Associatio nCentral Scotland Organ Recitals CommitteeNational Federation of Music Societie sRehearsal OrchestraScottish Baroque Ensemble Trust Limited

Carried forward

£

£

10,618

398,91 9

601,500

4001,35 0

22020515 026032056584340

25 01 6

27 535 0

8 0500

5045060058 8

4 045078 934 260 042090 0

7040 0350

9 588 2

50250

6 520071 210037025 061 260

1,00 060

5,00 010 0

2,55 6

£36,413 £398,91 9

108

Brought forwardScottish National Orchestra Society Limite d

Other activitiesJohn Currie Singers LimitedSaltire Society

_Scottish M_ usic Archiv e

_

Shetland Arts Society

__

Special Grant sBursaries

Total as per Schedule 1

-

-_36,413 398,91 9

145,000181,41 3

13 01,372

500--- -

787 ---

178- -

6,289

-

--

- -- £586,621

Art

Aberdeen Art Gallery

5 0Aberdeen Arts Centre Association

1 6Arbroath Art Society

-

44Arbroath Town Council

250

Carried forward

Drama

Aberdeen : University of Aberdeen___ 5 0_

Cumberna_uld Theatre Group 74 7_ Dervaig Arts Theatre Limited 1,930

Dundee Repertory Theatre Limited

_

35,304Edinburgh_Childrens Theatre_ Workshop 150

_

Edinburgh_ Civic Theatre Trust Limited 6.0_,34 5The Pool Lunch Hour Theatre Club_ 250Traverse Theatre Club 21,564

_ Traverse Theatre Workshop 2,45 0Glasgow : Citizens' Theatre Limite (including Close Theatre Club) _

7.8,945University of Glasgow_- 1,000

Perth Repertory Theatre Limited 34,2_6_8Pitlochry Festival Society Limited_----

_ - _28,65 0-St Andrews : Byre Theatre of St Andrews 6,85 0_University Mermaid Drama Society - 50_University of Strathclyde _

_

_

_

100British Centre of the International Theatre Institute 100_Council of Repertory Theatres _7_5_Prospect Productions Limited

_ _900Scottish Theatre Guild

_ 50 0Shanter Productions 50 0Stage Company (Scotland)

_700

7 :84 Theatre Company 12 5Training Scheme Bursaries 94 7Bursaries 6,100

Total as per Schedule 1 £282,600

109

Schedule 3(continued)

Brought forward 36 0Art (continued)

Edinburgh : Ceramic Workshop 3,55 5Richard Demarco Gallery Limited 12,84 1Edinburgh College of Art 50057 Gallery 78 0Printmakers Workshop Limited 1,51 5Saltire Society 30 0Weavers Workshop 50 0

Glasgow : Compass Gallery Limited 3,000Glasgow Group 17 5Glasgow Museums and Art Galleries 10 0Glasgow School of Art 11 2

St Andrews : Arts Committee of St Andrews 126Buildings of Scotland 500Films of Scotland 3,000Prospect Productions Limited 50Scottish Young Contemporaries 500Sussex University : Gardner Centre for the Arts 520Commissions 5,200Bursaries 3,570

Total as per Schedule l

Literature

Claddagh Records Limited 500Edinburgh : University of Edinburgh 500Gaelic Books Council 600Glasgow : University of Glasgow 1,200Scottish Film Council 1,000Strathclyde : University of Strathclyde 750

4,550

Publication s`Akros' 1,250`Gairm' 600`Lines Review' 1,000`Pointe' 200`Scottish International Review' 4,000

7,050Publication Awards 3,600Bursaries 4,25 0Travel Grant 100Grants to Publishers 3,670

11,620

Total as per Schedule 1 £

,220

110

Festivals

Edinburgh : Craigmillar Festival Society 400Leith Festival Committee 300_

_Edinburgh Festival Society Limited 80 1 00_0

Milnathort : Association of the Friends of Le_dlanet Nights Limited 5,000

St Andrews Festival 1971 34

Total as per Schedule 1 £85,73 4

Arts centres and

Arts Centre Associatio n__Aberdeen 1,800clubs

Callan-der & District Arts Guild 750Greenock Arts Guild 50__Prestwick_ Arts_ Guild 400_

MacRobert Centre_

_Stirling : 10,000Troon Arts Guild 750_Association of Arts Centres in Scotland 1,00 0Scottish Civic Entertainment Association 1,00 0

Total as per Schedule 1 ~~

Housing thearts

University of Stirling -

75,000

Total as per Schedule 1

£75,00 0

11 1

The Scottish Arts Counci l

Schedule 4

Stage I Touring for the year ended 31 March 1972

£

£Music

Scottish Opera Limited 9,75 0Glyndebourne Productions Limited 4,000Scottish Theatre Ballet Limited 3,000

16,75 0

Drama

Meadow Players Limited 1,87 5National Theatre Board 4,00 0Pitlochry Festival Society Limited 3,17 1Prospect Productions Limited 6,82 0Henry Sherwood Productions 2,096

17,962

Publicity

9,69444,406

Less : RevenueAberdeen Corporation

8,50 0Edinburgh Corporation

12,00 0Glasgow Corporation

3,25023,75 0

Net expenditure as per Schedule 1

£20,65 6

112

The Welsh Arts Counci l

Revenue and expenditure account for the year ended 31 March 197 2

1970/71£

£535,985 General expenditure on the arts (see Schedule 1)

863,08 2

66,110 General operating costs (see Schedule 2)

78,62 3

4,852 Capital expenditure transferred to capital account

10,87 0

(16,789) Balance carried down

14,81 1

£590,158

£967,386

96 Balance carried forward to Balance Sheet

14,907

£96

£14,907

114

£

£

£585,000 Grant from the Arts Council of Great Britain

963,23 5

1,701 Provision for grants and guarantees in previous year not required

1,08 6

Sundry receiptsInterest on deposit account

2,35 1Proceeds ofsale ofassets

47 5Miscellaneous

239

£590,158 £967,386

16,885

Balance brought forward at 1 April 1971 9 6

(16,789)

Balance brought down 14,81 1

£96 £14,907

115

The Welsh Arts Council

Balance sheet as at 31 March 1972

Liabilities

_1971

Capital accountBalance as at 31 March 197 1Add: Capital expenditure during year transferred from Revenue and expenditure accoun t

Gift s

Less : Book value of assets sold or written off during yea r45,824

£

£

45,82410,87 0

62 057,31 42,101

55,21 3

£45,824 Carried forward

£55,21 3

116

£

t

z

Leasehold propert yMuseum Place Cardiff

4,836 Improvements at cost as at 31 March 1971

4,83 6

Office equipmentAt cost as at 31 March 1971

6,78 5

Additions at cost

10 1

Less : items sold or written off 96,785 6,87 7

Motor vans and carsAt cost as at 31 March 1971 7,126

Additions at cost 3,73910,86 5

Less : items sold or written off 1,672

7,126 9,193

Art exhibition equipmentAt cost as at 31 March 1971 2,594

Additions at cost 74 63,34 0

Less : items sold or written off 420_2,594 2,920

Works of artAt cost as at 31 March 1971 22,424

Additions at cost _

6,284

Gifts at cost value 620

22,424 29,32 8

Reproductions161 At cost as at 31 March 1971 16 1

Manuscript collection1,898 At cost as at 31 March 1971 1,898

£45,824 Carried forward

£55,21 3

117

Balance shee t(continued)

Liabilities (continued )

197 1

45,824 Brought forward

96 Revenue and expenditure account

27,345 Grants and guarantees outstanding

Credit balance sSundry creditors and accrued liabilitie sDue to Arts Council of Great Britain

52,402_-

Note :No provision has been made for depreciation of assets : renewals are charged to Revenue.

Chairman of the Welsh Arts Council : William CrawshaySecretary-General : Hugh Willatt

55,21 3

14,907

68,700

19,58 325,000

44,58 3

£125,667

£183,403

I have examined the foregoing Account and Balance Sheet . 1 have obtained all the information and explanation sthat I have required and 1 certify, as the result of my audit, that in my opinion this Account and Balance Sheet ar eproperly drawn up so as to exhibit a true and fair view of the transactions of the Welsh Arts Council and of the stat eof their affairs .Signed : D . B . PitbladoComptroller and Auditor General, Exchequer and Audit Department, 12 July 197 2

118

Assets (continued)197 1

45,824 Brought forward 55,21 3

39,550 Grants and guarantees paid in advance 28,35 0

Debit balancesSundry debtors and prepayments 12,07 2

Due from Arts Council of Great Britain 20,330 _

21,966Expenditure on future exhibitions in preparation

Cash

3,97136,373

On bank deposit 61,683

On current account 1,554 _

Imprests 30in hnnd 200

£125,667

£183,40 3

119

The Welsh Arts Council

Schedule 1

General expenditure on the arts for the year ended 31 March 1972

Music

Grants and guarantees (see Schedule 3 )

Opera for all :

-

413,768

Gross expenditure 7,700Less : Revenue 7,09 2

-

-

- 608

Concerts :Gross expenditure 72,562Less : Revenue 39,234

33,328

- -

Recording of new music 11,00 0--

- 458,704

Drama

Grants and guarantees (see Schedule 3) 101,44 9Miscellaneous expenses 30

101,449

Art

Grants and guarantees (see Schedule 3) 13,650

Exhibitions :Gross expenditure 48,42 1Less Revenue 8,695

39,726

Art film tours :Gross expenditure -

947Less : Revenue 400 -

-547

Publications :Gross expenditur e- 83 3Less : Revenue 260-

57 3Poster prints 2 6

Filmmaking 958

-

-

-

- 55,48 0

Literature

Grants and guarantees (see Schedule 3) 47,229Creative Prose competition - 1,199Dial a poem 798

- -

Poetry recitals :Gross expenditureLess : Revenue

-

Writers in school sMiscellaneous expensesLess : Revenu e

Carried forward

1,570148

1,42 2- 91 5

3,82 3178

3,64555,208

-

-£670,84 1

120

forward

Festivals

Grants and guarantees (see Schedule 3)

22,31 3

Arts associations Grants and guarantees (see Schedule 3) 86,62 8

Arts centresand clubs Grants and guarantees (see Schedule 3) 6,300

Housing the arts Grants (see Schedule 3) 77,00 0

Net expenditure as per Revenue and expenditure account £863,082

12 1

Schedule 2

The Welsh Arts Council

General operating costs for the year ended 31 March 1972

£

£Salaries and wages 41,17 7

Superannuation 4,39345,570

Travelling and subsistence 7, 364

Rent and rates 6,593

Fuel, light and house expenses 2,12 2

Publicity and entertainment 8 , 44 5

Postage and telephone 3,98 5

Stationery and printing 3,71 3

Office and sundry expenses 83 1

Total as per Revenue and expenditure account £78,623

122

The Welsh Arts Council

Schedule 3

Grants and guarantees for the year ended 31 March 197 2(including subsidies offered but not paid at that date)

Music

-Opera

£

_£Aberystwyth Opera Group

214Cadoxton Amateur Operatic Society

366 _Welsh National Opera Company Limited

372,695 373,27 5

Ballet-- -

Abertillery Urban District Council

- --

-

-

5 5

Concerts -Urban District Counci l_Abertillery

- 6 5Aberystwyth University. College Music Club 35 0--Barry : Barry and District Choral Society 7 5

Barry Summer School 12 0Glamorgan College of Education 5 0

Brecon Cathedral Concerts Society 102

-Brecon Music Club 200B_ridgend Concerts Society 350

-- -Bridgend Festival_ 2. 20_Burry Port Urban District Council 63-

- -Caerphilly Music Club 180Caldicot Village College of Music Club 4 5Cardiff : Cardiff Bach Choir 11 0

Cardiff Gramophone Society 6 1_Excelsior Brass Band Festival 150National Museum of Wales 480University College of South Wales ___ 80 2_University Hospital of Wales Music Society 750

Chepstow Arts Club 2 5Chepstow Community College Music Society 6 7Cross Hands Institute 12 5Cwmbran Forum

_18 0

Ebbw Vale Music Club 6 0Knighton and District Concerts Society 24 5Llandaff Festival 1,993Llantwit Major : Atlantic College Music Society 17 5

United World College of the Atlantic 55 6Merthyr Tydfil Arts Festival 25 0Monmouth : Merlin Music Society 1,750Newbridge Music Club 90

Newport : W . H . Davies Centenary Celebrations Committee 8 0Environ 71

----

-- - - - - 45

-

-

--

Newport College of Art Music Society 13 5Newport Music Club 95

Royal College of Organists 60

Pembrokeshire Joint Concerts Committee 1,775

Penarth : Arts Arena 1 8

Glamorgan Education Committee Turner House Gallery Concerts 200___ _Pontypridd : Cor Meibon 20

-

Port Talbot Borough Council 5 5

Carried forward £12,172

£373,330

123

Schedule 3(continued )

Brought-forward

- 12,172 373,33 0

Music (continued)

Concerts (continued )Radnorshire County Council Music Committee 5 0Radnorshire Rural Community Council Music Committee 11 0Resolven Concert Society 5 0Rhymney Valley Music Club 15 0Risca Adult Education Centre 4 5Swansea Bach Society

100-

Swansea Corporation 1,57 5Welsh Amateur Music Federation 15 ,000

29,25 2Other activitiesPublications : Guild for the Promotion of Welsh Music 750Cardiff University College 1001972 Gregynog Fellowship 75 0Awards to Artists 9,58 6-

-

---

----- 11,186

Total as per Schedule 1 £413,768

Drama

Aberystwyth University College (College Theatre) 300Caernarvon : Theatr Dieithr 55 0Cardiff : Cambrian Theatre Company 1,500

Cardiff New Theatre Trust Limited 10,040Caricature Theatre Trust Limited 12,10 0Chapter Art Centre 15 0Inter Action 10 1New Fol de Rols 30 1Open Air Theatre 1,10 0Pip Simmons Theatre Group 6 8Portable Theatre 12 5Theatre Machine 71 125Transitions 50University College : Sherman Theatre 800

Carmarthen : Trinity College Students Arts Festival 3 4Ebbw Vale : Guild of Welsh Playwrights 5 5Newport : Environ 71 120Swansea Corporation : Grand Theatre 5,100Welsh Theatre Company 64,875Drama Association of Wales 3,000Dramatic and Lyric Theatres Association 250Bursaries 525Guaranteed Royalty Scheme 15 0

Total as per Schedule I £101,41 9

Art

Cardiff : 56 Group Wales 13 0Cardiff Film Society 20Chapter Arts Centre (Peter Dockley) 235 _Contemporary Art Society for Wales 400

Carried forward £785

124

Brought forward

78 5

Transitions (materials for children's play events)

120

Voluntary Community Service (Ken Murcott : Resident Artist forSummer Playschemes)

260

Cwmbran Film Society

2 5

Cwmbran Llantarnam Grange

35 0

Llwchwr Art Group

2 4

Newport : Dyffryn High School (Environ 71 : Bruce Lacey Lecture)

3 5

Newport and Monmouthshire Art and Craft Society

4 0Radnor Film Society

2 5

South Wales Potters

100

Swansea : Pavilions in the Parks (Summer Scheme)

1,4473 .21 1

Grants and guarantees towards exhibition sBangor : Royal National Eisteddfod : Art and Craft Pavilion

600

Cardiff : National Museum ofWales : Arthur Hughes

25 0

Society for Education through Art : Pictures for Welsh Schools

100

University College : Henryk Gotlib

400

South Wales Group : Now/Nawr

2,050

Swansea : Glynn Vivian Art Gallery : Treasures from the National Trust

1363,53 6

BursariesCommission AidCommissio n Award sDesian Grant sGrants for Film making

4,UZ) 4

Small Grants Scheme

500

Total as per Schedule 1

V3,650

Literature

Welsh Books Council

i I,000

Yr Academi Gymreig

50011,560

`The Anglo Welsh Review' 2,620

`Barn' 1,850

`Llwyfan' 650

`Planet' 1,550

`Poetry Wales' 1,750

`Second Aeon' 20 0

`Taliesin' 1,12 5

`Y Cardi' 24 5

`Y Genhinen' 73 0

`Y Traethodydd' 67711 .397

3 0

Carried forward

£23,087

12 5

Schedule 3(continued)

Brought forward 23,08 7Public Readings

British Broadcasting Corporation 900Cardiff Writers Circle 5 0Cymdeithas Lenyddol Caerdydd 7 0National Book League : Book Bang 7 5Newport : W. H. Davies Centenary Celebrations Committee 3 9

Environ 71 3 0Welsh Theatre Company 150

1,31 4Recordings :

Argo Record Company Limited (Poets of Wales) 1,000Cambrian Recordings Limited (The Green Desert by Harri Webb) 200Recordiau'r Dryw : (Ysgol a'r Aelwyd) 400

(Dial a Poem) 1501,75 0

Grants to Publishers 8,590Grants to Translators 28 8Bursaries 9,35 0Fees 150Honours 1,500Prizes 1,200

21,07 8

Total as per Schedule 1

Festivals

Caerphilly Festiva lCardiff Festival of 20th Century MusicLlandaff Festiva lLlangollen International Music Eisteddfo dLlantilio Crossenny Festival of Music and Dram aLower Machen Festiva lNorth Monmouthshire Festival of the Art sSwansea Festiva lVale of Glamorgan Festival

Total as per Schedule 1

Arts Associations

North Wales Association for the Art sWest Wales Association for the Art s

Total as per Schedule 1

Arts Centres and

Aberystwyth : College of Librarianship Conference on the ArtsClubs

Cardiff : Chapter Art Centr e

Total as per Schedule 1

£47,22 9

2,3001,95 03,9007,500

40 086 424 5

4,55 460 0

£22,31 3

40,00046,628

£86,628

3006,000

£6,300

126

Housing_the-Arts

Barry Memorial Hall

_

1,50 0Barmouth Community Centre : Dragon Theatre and Gallery

50 0Coleg Harlech

45,00 0---- - -------- - -

-

University of Wales, Aberystwyth Theatre

20,000University College, Bangor Theatre

10,000

Total as per Schedule 1

£77,000

127