DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

Little more than ten years ago drones were barely used, but now more than 50 countries have them in service and they are not only changing how wars are fought but how crops are sprayed, how underwater pipelines are monitored and even how sports events are filmed. If it’s too risky to send a manned aircraft to survey the intensity of a hurricane or a combat zone, or too costly for conservation wardens to chart the movement of wildlife, drones can be used. Used for reconnaissance work and mapping as well as launching missiles, drones can fly autonomously or be controlled by remote control. Peering into a volcano about to erupt, checking how fast a forest fire is spreading, exploring the wreck of a sunken ship, charting your enemy’s position and taking out a military target—these are just some of the uses of drones today. From drones the size of a fingertip to drones that can carry soldiers, from single rotorcraft to multi-rotorcraft to propeller craft drones, Drones expertly examines these complex vehicles, which are not only very different from manned aircraft, but also very different from each other. Illustrated with more than 220 colour photographs and artworks, Drones is an exciting, accessibly written work about the latest in military and civilian aviation technology.

Fire?te c?, de la schimbarea de paradigm? numit? apari?ia genurilor rock ?i folk (precedate de jazz, dar mai cu seam? de blues... ?i ?n m?sur? cov?r?itoare de explozia beat!), ?n Rom?nia comunist? (?ncerc?nd mereu s? fie sincron? cu voga occidental?), lucrurile n-au fost tocmai roz. Unii chiar se bat ?n piept c? de la ei ?ncoace se poate vorbi de...; al?ii (implica?i direct) sunt sc?rbi?i de ceea ce se ?nt?mpl?, mai cu seam? ?n lipsa unei istorii oficiale ?i documentate, ?i ??i v?d de treab?. ?n era net/Wikipedia, oricine se poate da ?n stamb?, se poate lua la tr?nt? (sub pav?za anonimatului, implicit a nesim?irii) cu orice; cum anticipa parc? Andy Warhol, a venit vremea ?n care oricine va fi fost vedet? 15 minute.Dar au existat ?i vedete reale, grei ai genurilor a?a-zis u?oare, mon?tri sacri! Celor acum ?n umbr? (cite?te underground) le este dedicat acest volum. M?rturii orale puse cap la cap despre aceia care au trecut ?i – iat? – se ?ntorc ?n Clubul Arhitecturii. Dac? un Cenaclu ?Flac?ra“, la ?nceput genial ?n scopuri, a fost mai apoi r?st?lm?cit ideologic ?i impus aproape cu for?a p?n? la implozie, clubul – recte pivni?a – din strada Bl?nari nr. 14 a rezistat peste decenii intrinsec; pe temelia solidificat? de la o zi la alta, de la un artist la altul, de la o bere la alta... Din student ?n student (dar nu numai prin ei), ?tafeta a tot fost preluat? de genera?iile care s-au perindat, iar ast?zi ne-am trezit cu o ?ntreag? istorie care apas? pe funda?iile cl?dirii vechi..., dar f?r? bulin? ro?ie! Nu, Club A nu va c?dea, a?a cum va exista ?n continuare ?i Casa Studen?ilor din Bucure?ti (ca ?i cele din Timi?oara, Ia?i, Cluj...), ?i Radioul, ?i Televiziunea, ?i Electrecordul...Din cuprins: Amintiri ? Clubul de pariuri muzicale sau Cu... v?nt ?nainte... din pupa! ? A fost o dat?... din 1969 ? Primul Festival Na?ional de Muzic? Pop ?Club A“ (16–22 decembrie 1969) ? Ro?u ?i Negru ? Romanticii ? Chromatic Grup ? Sideral (Modal Quartet) ? Olympic ‘64 ? Phoenix ? Coral... ?i Adrian Ivani?chi ? Al doilea Festival Na?ional de Muzic? Pop ?Club A“ (10–17 mai 1971) ? Modern Grup ? Metronom ? Mondial ? Timi?oara, la vest de Rom?nia ? Carusel ? Post-scriptum la al doilea festival ? Folk ?n Club A ? Mihai Munteanu ?Michone“ ? Dorin Liviu Zaharia ?Chubby“ ? Mircea ?Ciocu“ Vintil? ? Florian ?Mo?u“ Pitti? ? Doru St?nculescu ? Sorin Minghiat ? Dan Oprina ?i Mircea Valeriu Popa ? Nicu Vladimir ? Marcela Saftiuc ? Adriana Ausch ? Anda C?lug?reanu ? Zoia Alecu ? Catena ? FFN ? Valeriu Sterian (?i Compania de Sunet) ? Mircea Bodolan ? Curtea Veche nr. 43 ? Al treilea Festival ?Club A“ (5–8 iunie 1979) ? Metropol ? Academica ? Experimental Q ? Modal Q ? Mircea Florian (din Transilvania) ? Al patrulea Festival ?Club A“ (16–19 martie 1981) ? Dan Andrei Aldea ?i Sfinx ? Pro Musica ? Accent ? Redivivus ? Basorelief ? Gramophon/Post Scriptum ?i... Mircea Baniciu ? Semnal M ? Sorin Chifiriuc ?i Domino/Roata ? Grup ‘74 ? Club A – 15 ani (12–17 martie 1984) ? Nicu Alifantis ? Iris ? Liviu Tudan & Ro?u ?i Negru ? Al cincilea Festival ?Club A“ (28 februarie–1 martie 1990) ? Compact ? Holograf ? Celelalte Cuvinte ? Gala ?Club A – 30 de ani“ (18 iunie 1999)?/ ?Club A – 34 de ani“ (4 iunie 2003) ? Sfinx (Experience) ? Alexandru Andrie? ? Cargo ? Timpuri Noi ? Sfatul ?b?tr?nilor“ ? Al ?aptelea Festival ?Club A“ (13–18 mai 2011) ? Imagini ?necenzurate“

London 1970: Experimental psychiatrist R.D. Laing is facing eviction from his pioneering asylum in the East End’s Kingsley Hall. Local residents are up in arms – and to make matters worse, Ronnie’s revolutionary colleague David Cooper is flipping out on the roof… With his personal life going down the pan and his mental state heading the same way, Ronnie takes an acid trip to the future. His mission is to save his therapeutic collective The Philadelphia Association and secure his professional legacy. Will it be a one-way ticket to madness – or can breakdown sometimes mean breakthrough?

From beautiful adaptations of classics to exciting new writing, Duffield is a master of storytelling. Commissioned by theatres and community groups in the UK, these plays offer strong roles for both men and women, as well as the opportunity for song and dance. They will appeal to schools and youth theatres as well as both amateur and professional performers. Using a mixture of storytelling, theatre and song, BROTHERS IN ARMS draws on the true story of two brothers from a Yorkshire pit village – one of whom steadfastly refused to fight in World War I, while the other volunteered and served on the front line in France. Cast 8 minimum. Adapted from Hugo’s novel, THE HUNCHBACK OF NOTRE DAME is ‘remarkably faithful to the author’s original intention… a faultless production.’ – THE MORNING STAR Cast 8 minimum. WITH ALL MY LOVE is a tale of conspiracy and betrayal, of family feuds and deep-held secrets, of a woman’s struggle to keep faith with a husband transported to the other side of the world. Suitable for large cast productions, aimed at a general audience.

When Mina’s father dies, she returns to Korea to visit a family she barely knows, desperately looking for some answers. But her mother is reluctant to discuss the past, especially the war, or the reasons that Mina was sent so far away as a child, to America. Her younger sister seems unable to grow up and it doesn’t help that their nosy neighbour is always on their doorstep. Secrets and lies divide them all irrevocably. When the truth is finally revealed, it is both shocking and redemptive, allowing Mina and those around her to see themselves anew and break free from years of pain and guilt.

Читанка для учн?в старших клас?в середньо? школи в ус?х ?вропейських кра?нах. Книжку створено в рамках сп?льного проекту орган?зац?й та установ, що працюють разом у Платформ? ?вропейсько? пам'ят? та сумл?ння. Зб?рка м?стить 30 дивовижних ?стор?й людей з 16 ?вропейських кра?н, що зазнали тотал?таризму. Це розпов?д? про см?ливц?в, як? протистояли тотал?таризмов? та загинули, а також про тих, кому пощастило вижити. Ц? розпов?д? сповнен? надзвичайного суму через незм?рн? страждання, що ?х завдали фанатичн? орудар?, поборники та п?дсобники тотал?таризму таким же людям, як ? вони. Але водночас вони осп?вують любов до свободи, людську г?дн?сть, несхитн?сть, см?лив?сть, в?ру та в?ддан?сть головним людським ц?нностям.

["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.] ? THE SECOND EDITION.As one or two questions, asked of me since the publication of this work, have indicated points requiring elucidation, I have added a few short notes in the first Appendix. It is not, I think, desirable otherwise to modify the form or add to the matter of a book as it passes through successive editions; I have, therefore, only mended the wording of some obscure sentences; with which exception the text remains, and will remain, in its original form, which I had carefully considered. Should the public find the book useful, and call for further editions of it, such additional notes as may be necessary will be always placed in the first Appendix, where they can be at once referred to, in any library, by the possessors of the earlier editions; and I will take care they shall not be numerous.August 3, 1857. ? PREFACE? i. It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment. ? ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit. ? iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good wood-cuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a few prints and to a few books.

Le piante percepiscono il suono e amano suonare.Lo dimostrano studi e sperimentazioni condotte in ambito accademico e, ancora di più, le esperienze di numerosi ricercatori e musicisti che insegnano alle piante a usare apparecchiature musicali elettroniche e suonano e cantano insieme a loro.Le ricerche sull’intelligenza vegetale, sulla sensibilità delle piante e sulla loro disponibilità a dialogare con noi aprono la nostra mente verso una più profonda visione della natura e il nostro cuore a nuove occasioni di scambio con tutto ciò che è vivo intorno a noi.

The World's Greatest Tanks features 52 of the best armoured fighting vehicles from World War I to the present day. Beginning with the prototype Mark V Male in 1917, the book ranges from World War I, World War II, through the Cold War and up to the highly sophisticated tanks that have seen recent service in wars in the Balkans, Caususus, and Middle East. From the Soviet T-34 and German Panther tanks of World War II to the M1A2 Abrams, Challenger 2 and T-90 of the present day, The World's Greatest Tanks is an expert examination of the most successful tanks of the past hundred years. Each entry is examined over two spreads and includes a brief description of the tank's development and history, a colour profile artwork, photographs, key features and specifications tables. Packed with more than 200 artworks and photographs, The World's Greatest Tanks is a colourful guide for the military historian and military technology enthusiast.

“When everyone had had plenty to eat and drink they called for the gladiators. The moment anyone’s throat was cut, they clapped their hands in pleasure. And it sometimes even turned out that someone had specified in their will that the most beautiful women he had purchased were to fight each other….” – Athenaeus, The Learned Banqueters With their origins as blood rites staged at the funerals of rich aristocrats, gladiatorial combat is one of the defining images of ancient Rome. For more than 600 years, people flocked to arenas to watch these highly trained warriors participate in a blood-soaked spectacle that was part sport, part theatre and part cold-blooded murder. Gladiatorial contests were a spectacular dramatization of the Roman emperor’s formidable power. Gladiator looks at life and service in the Roman arenas from the origins of the games in the third century BCE through to the demise of the games in the fifth century CE. It explores the lives of the prisoners of war, criminals, slaves and volunteers who became gladiators, their training, and the more than 20 types of gladiator they could become, fighting with different types of weapons. From Spartacus’s slave revolt to the real Emperor Commodius who liked to play at being a gladiator, from female gladiators to the great combats involving hundreds of exotic animals, Gladiator is a colourful, accessible study of the ancient world’s famous warrior entertainers.

Okupiv?i na jednome mjestu najzanimljivija imena lijeve politi?ke misli od Slovenije do Bugarske, s naglaskom na zemlje biv?e Jugoslavije, filozofi? i aktivisti Sre?ko Horvat i Igor ?tiks pred njih su stavili zadatak da napi?u tekstove o situaciji danas i ovdje, prije svega na Balkanu. ?etrnaest autora, od mladih filozofskih nada do svjetski priznatih imena, u svojim esejima pokazuje koliko je po?ast neoliberalizma u sprezi s politi?ko-mafija?kim klanovima i krupnim kapitalom razjela sve one pozitivne tekovine koje je ostavilo socijalisti?ko naslje?e. Bez sentimenta i nostalgije prema pro?lim vremenima, Dobro do?li u pustinju postsocijalizma najzanimljivija je i najaktualnija knjiga o suvre?menom trenutku. Ona je nezaobilazna studija za svakoga tko ?eli ozbiljnije shvatiti ?to nam se i za?to doga?a u vremenima duboke krize.

The best collection of suffrage plays on offer. Introduced and set in historical context by Dr Susan Croft, formerly Curator at the Theatre Museum in London, with a chronology of suffrage drama from 1907-1914.? The astonishing women involved in the Actresses Franchise League set up their own theatre companies and engaged with the battle for the vote by writing and performing campaigning plays all over the country. They launched themselves onto the political stage with their satirical plays, sketches and monologues whilst at the same time challenging the staid conventions of the Edwardian Theatre of the day. The legacy of their inspiring work to change both theatre and society has survived in the political theatre, agit-prop and verbatim theatre we know today.? Full playtexts from the following: ’How the Vote was Won’ by Cicely Hamilton and Chris St. John ’The Apple’ by Inez Bensusan ’Jim s Leg’ by L.S. Phibbs ’Votes for Women’ by Elizabeth Robins ’At the Gates’ by Alice Chapin ’In the Workhouse’ by Margaret Wynne Nevinson ’A Change of Tenant’ by Helen Margaret Nightingale.

Macho men or metrosexual guys? Mummy’s boys or blokes under their missus’ thumbs? Self-made entrepreneurs, pukka professionals and successful executives with their Mercedes Benz lives and designer-clad wives; husbands, sons, uncles, brothers and fathers – these successful, soulful and spirited Asian men have come a long way from their origins but they’ve all got roots! The Trouble with Asian Men is a vital, tender and hilarious insight into lives that surround us every day. From the award-winning theatre company that brought us East is East, a revealing verbatim comedy that has played to sell-out houses internationally.

In any military operation throughout history, few 24-hour periods have been as crucial as that of 6th June 1944. With the aid of specially commissioned maps, D-Day: The First 24 Hours series gives the dramatic history of the first 24 hours of the Normandy landings, and explains in detail the events that occurred in each landing zone. In this third volume of the series, the book describes the American landings on Omaha and Utah beaches. The fighting on Omaha was some of the most desperate fighting took place, but the beach was eventually secured. The book also includes the famous operation by the US Rangers to capture the gun position at Pointe du Hoc, successfully scaling a sheer cliff face in the teeth of the defenders' fire. With colour and black & white photographs, the book is a guide to key events in the first 24 hours of the D-Day landings that saw the Allies successfully achieve a foothold in Northern Europe.

Exila?i este singura pies? scris? de Joyce, unde ??i face manifest?, prin regulile speciei, predilec?ia pentru m??tile puse fiec?rui personaj. Citit? ca o trecere ?n ordine cronologic? de la Portret al artistului ?n tinere?e la Ulise, piesa con?ine m?rci clare ale obsesiilor scriitorului ?i urme vizibile ale experien?ei omului James Joyce. Rela?iile de dragoste, parentale sau de prietenie sunt cele care dezechilibreaz? personajele, exilul temporar ?n Italia fiind doar o alt? form? a ?nstr?in?rii din Irlanda natal?.

In any military operation throughout history, few 24-hour periods have been as crucial as that of 6th June 1944. With the aid of specially commissioned maps, D-Day: The First 24 Hours series gives the dramatic history of the first 24 hours of the Normandy landings, and explains in detail the events that occurred in each landing zone. In this fourth volume of the series, the book describes the British and Canadian landings on Gold, Juno and Sword beaches. The book also includes details of the human cost of the first day, and a full order of battle for both sides. With colour and black & white photographs, the book is a guide to key events in the first 24 hours of the D-Day landings that saw the Allies successfully achieve a foothold in Northern Europe.

A topical collection of new plays by popular UK playwright Nick Wood 'I am not a lone voice, I am many.'?Malala ? Yousafzai A Girl with a Book and?Other Plays ?brings together four plays for young people by acclaimed playwright Nick Wood. Topical and wide-ranging, they concern refugees, friendship, loss and courage. 'You know those sente nces that start I'm not sexist/racist/homophobic and the speaker sticks in the word 'but' and goes on to prove that's exactly what they are?' The title play, ? A Girl with a Book ?is an honest response to the story of Malala Yousafzai, who was shot by the Taliban. Produced many times in Germany and the UK, the play raises serious questions about the West's complex relationship with and attitudes to the Muslim world. 'a journey into empathy and imagination...'?Stephen Lowe Plays Nick Wood's poignant political drama A Girl with a Book is based on the true story of Nobel Peace Prize-Winner Malala Yousafza. In 2012, gunmen stopped a bus in Pakistan and shot three young girls. Their crime? Wanting to go to school. Knowing nothing about the situation, able to offer little more than outrage, the writer is forced out from behind his desk and in the search for answers to help him tell the story of a brave young woman's fight for girls' education, but when his research uncovers attitudes at odds with his liberal convictions he has to face what he learns about himself. Achieving international acclaim after its opening in Hamburg, A Girl with a Book examines Malala's story through a series of questions - Wood asks how a girl who wanted to go to school could become such a target. Bird boy:?Eddie and Tim create their own den up on the Knoll, a secret place for heroes. The only problem is, winter is setting in and Eddie won't come down. As the snow falls, Tim must decide whether to take food to Eddie or betray him by telling the grown ups where he is. Mia:?Mia is a refugee who has lost her home, and most of her family. She has odd bits and pieces in her bag, which have stories attached to them. Mia is searching for her sister, Sofia, can they help? Dream of White Horses: ? ?Paul wants two things - to find out whether his father's death was an accident or not. He climbs the same cliff, to discover what happened to his father, and a great deal about himself. '...invites us to better understand Malala, her father, and her kinsmen.'? On Religion '...a journey into empathy and imagination coolly and cleanly done. A crucially important tale well told with great humanity.' ? Stephen Lowe, playwright '...there's plenty of scope here for schools, colleges and youth theatre groups. The title play... has a cast of one... The remaining three plays use larger casts and explore asylum seeking, friendship, loss and courage.' ?Susan Elkin, The Stage

The first ever comprehensive collection of plays ?in English from Southeast Asia. Features work by eight playwrights from seven countries in Southeast Asia, a region which is experiencing profound change:?Singapore, Vietnam, Malaysia, Thailand, the Philippines, Indonesia and Cambodia.? Southeast Asian Plays ?explores the rich variety of dramatic work that is only beginning to be translated into English. Theatre scripts are merely blueprints for productions, especially in this region. As elsewhere, second productions and revivals are rare, so publication is key to allowing play texts to find a wider international readership. Topics include the global financial crisis, sex workers, traditional v modern values, the role of faith in society, corruption in high places and journalistic ethics. The plays have been selected for performance. Plays: The Plunge by Jean Tay (Singapore) An Evening At the Opera by Floy Quintos (Philippines) Night of the Minotaur by Tew Bunnag (Thailand) Tarap Man by Ann Lee (Malaysia) Dark Rac e by Dang Chuong (Vietnam) Frangipani by Chhon Sina (Cambodia) Picnic by Joned Suryatmoko (Indonesia) Nadirah by Alfian Saat (Singapore) "The editors have done an excellent job of opening up our chances of reading and learning about plays from all over Southeast Asia. ...editorial choices are significant for opening up spaces to voices which are otherwise heard less often. All in all the plays are interesting for the ways in which they grapple with key concerns in their respective societies."? --The Asiatic

From a story by Hans Christian Andersen In ancient China, young emperor Wu is kept a virtual prisoner in his palace by his devious guardian, Li Si. Wu believes the world outside the Forbidden City is an evil and dangerous place. But when Xiao, a young servant girl, tells him of the most beautiful sound on earth – the song of the nightingale – it’s too much to resist. The two embark on an adventure that will take them across mountain tops and waterfalls, past chattering monkeys and magical dragons to the far reaches of his kingdom. When Wu returns with the nightingale, and starts to overturn the old palace customs, Li Si plots to restore things to the way they were before. Featuring puppetry, music and all the colour, movement and spectacle of Chinese theatre, this joyful adaptation of Hans Christian Andersen’s fairy tale is a feast for the senses that will delight the whole family. Suitable for ages 6+

The story of a modern Asian young woman trying to straddle Western attitudes and traditional beliefs. You've heard of an Essex Girl or even a Chelsea Girl but what is a Hounslow Girl? The term has become a byword for confident, young Muslim women who are grappling with traditional values, city life and fashion. From the joys of Pakistani weddings to fights on the night bus, Ambreen Razia's? The Diary of a Hounslow Girl ?is a funny, bold, provocative play highlighting the challenges of being a teenage girl in a traditional Muslim family, alongside the temptations and influences of growing up in and around London. “Ambreen’s writing is poetic in its structure and intensity, funny, moving, chilling, and delivered in a style that takes inspiration from spoken word and physical theatre. She has created a rhythm that draws the audience in, as compelling as a thriller, complete with gathering ominousness, shocks and comic relief.” Deborah Bestwick, Director, Ovalhouse “Ambreen Razia’s terrific play is exactly the kind of new work we wish to support in the new home of multi-cultural theatre in London. Hounslow Girl is a wonderfully funny take on a London phenomenon and one audiences will enjoy.” Jatinder Verma, Artistic Director, Tara Arts” "a powerful piece of theatre... Ambreen Razia's performance is astonishing."?BritishTheatre.com "This is a sophisticated, moving and often very funny piece of writing, particularly nuanced in its depiction of Shaheeda's relationship with her mother ... astute in tackling the breakdown of the loving bonds between parent and child that can occur when a child becomes a teenager – and also how this experience can be magnified for the children of first-generation immigrants, whose parents feel distant from their children’s British lives... Razia's script touches on everything from first love to cultural expectations to student-teacher relationships; it’s a bit like an inner-city version of An Education."?The Stage Ambreen Razia is an actress and writer from South London.? The Diary of a Hounslow Girl is Ambreen's debut show which premiered at Ovalhouse in 2015. Passionate about re-establishing British Asian comedy within the UK, she continues to write her comedy sketch show involving two British Asian girls exploring the?clash between traditional Indian/Pakistani culture and modern British life. She is also currently writing her next play POT primarily focusing on the recent comeback of gang culture within the UK.?Performance credits include: On the Middle Day (Old Vic Theatre);? Words and Women (Edinburgh Fringe); Random Acts (Channel 4);? Fair Exchange (Hen and Chickens Theatre);? Variations on a Theme (Camden People's Theatre);? Mind the Gap (National Theatre ); No Guts, No Heart, No Glory? (BBC4/Perth Festival Australia) and Murdered by my Father? (BBC3).