Pt(Z C vk 1 --l6 co P y

The Arts Council of Great Britai n

Twenty secondannual report and account syear ended 31 March 1967

A newcharter

The Arts Council of Great Britai n4 St James's SquareLondon SW 101-930 9737

ARTS COUNCI LOF GREAT BRIT IN

REFERENCE ONLY

00 NOT REMOVEFROM THE LIBRARY

Membership of th eCouncil, committees and panels

Counci l

The Lord Goodman (Chairman )Professor Sir William Coldstream, CBE, DLitt (Vice-Chairman )The Right Hon. Sir Edward Boyle, Bt, M PColonel William Crawshay, DSO, ER DMiss Constance Cumming sC. Day Lewis, CBE, DLit tThe Earl of HarewoodProfessor Gwyn Jones, CB ESir Joseph Lockwoo dColin H . Mackenzie, CM GMrs Myfanwy Pipe rDame Jean Roberts, DBE, DL, J PProfessor D. Talbot Rice, MBE, TD, DLitt, FS AHugh WillattAngus Wilson, FRS LSir John Witt

Scottish Arts Counci l

Colin H . Mackenzie, CMG (Chairman )Ian Finlay, CBE (Vice-Chairman )J . S . Boyl eColin Chandle rJ . B . DalbyCedric Thorpe Davie, OB ER . D . Hunter, MB EDr J . A . MacLea nMiss Lennox Milne, OB EEdwin Morga nNeil Paterso nAlan Reiach, OB EProfessor D Talbot Rice, MBE, TD, DLitt, FS ADame Jean Roberts, DBE, DL, J PGeorge Singleton, CB EProfessor Andrew McLaren YoungDr Douglas Youn g

Welsh Arts Counci l

Professor Gwyn Jones, CBE (Chairman )Colonel William Crawshay, DSO, ERD (Vice-Chairman )Professor W . J . G . Beynon, CBE, PhD, DScG . G . EvansAlfred Francis, OB EAlex J . Gordon, OBE, DipArch, FRIB Alorwerth Howell sDr Glyn Tegai Hughe sDavid Dilwyn John, CBE, TD, DSc, FM AKenneth Lovelan dProfessor T . J . Morgan, DLit tGareth Thoma sMiss D . E . WardCouncillor Tudur WatKin sProfessor J . R . Webster, Ph DClifford Will iams

Art pane l

Sir John Witt (Chairman )Professor Sir William Coldstream, CBE, DLitt (Deputy Chairman )Ronald Alle yProfessor Quentin Bel lAlan Bowness

'Ian W. Bruc eRobyn DennyBasil Gray, CB EPeter Green ha mAdrian Heat hCarol Hogbe nF . E . McWilliam, CB EProfessor Bernard Meadows, ARC ASir Roland Penrose, CB EJohn Pope-Hennessy, CB ENorman ReidThe Earl of Rosse, M B ESir Robert Sainsbury, ACAHugh Scrutton, CB EProfessor Alastair Smart, D AMrs K . L . Somerville, OB EAdrian D . Stoke sDavid Sylveste rJoe Tilso nFrancis Watson, CVO, FS A

'Derrick Woodha m

'Junior membe r

Drama pane l

Hugh Willatt (Chairman )Miss Constance Cummings (Deputy Chairman )Michael Barry, OB E

'Miss Susan Burdel lStuart Burg eMiss Nancy Burma nJohn Bur yAndrew Cruickshan kPatrick Donnel lMiss Jane Edgeworth, MB EMichael ElliottMartin Essli nRobin Fox, M CMiss Margaret Harri sMiss Jocelyn HerbertMiss Barbara Jefford, CB EJ . W . Lamber tLeo McKernDr A . H . Marshall, CB EJohn Mortimer, Q C

'Andrew Murra yAnthony PageHarold Pinter, CB ET . Osborne Robinso nJames Saunder sMiss Elizabeth Sweating, MB EAntony TuckeyKenneth Tyna n

'Junior member

4

Literature panel

C . Day Lewis, CBE, DLitt (Chairman )Angus Wilson, FRSL (Deputy Chairman )Miss Patricia Bee rVictor Bonham-Carte rMiss Brigid BrophyLeonard Clark, OBE, HM IR . G . Davis-Poynte rPatrick GarlandGiles Gordo nTed HughesProfessor Frank Kermod eDerwent MayJulian Mitchel lIan Parson sPeter PorterV . S . Pritchett

'C . Ben RidlerWilliam Sanso mJon Stallworth yMiss C . V . Wedgwood, CB E

'Junior membe r

Music panel

The Earl of Harewood (Chairman )The Right Hon . Sir Edward Boyle, Bt, M P (Deputy Chairman )Dr Gerald Abraha mMadame Irina Baronov aAnthony Besc hGeoffrey Bush, DMu sJoseph Coope rFrederic R . Cox, OB EProfessor Thurston DartMeredith Davie sDame Ninettede Valois, DB E

'John DrummondGeraint Evans, CB EAlan Fran kDouglas Gues tBarrie IliffeProfessor Ivor Keys, DMu sKeith Leste rGerald Moore, CB EMiss Thea Musgrave

'David Pipe rWilliam Pleet hAndrew Porte rPeter William s

`Junior member

Young people 's theatre pane l

Miss Constance Cummings (Chairman )Hugh Willatt (Deputy Chairman )John AllenJohn Blatchle yStuart Burg e

'Miss Susanna Capo nMrs Nettie de MontmorencyR . Gargrav eColin Georg e

'Andrew Gibso nGeoffrey Hodso nRonald JamesMiss Caryl Jenne rDavid E . Kem pD . M . Kirkma nJ . D . R . McVi eMiss Joan PlowrightOwen Ree dJames SaundersClifford William s

'Junior member

Staff

Headquarter s

4 St James's SquareLondon SW 101-9309737

Secretary-General : Nigel J . Abercrombi eDeputy Secretaryand Finance Officer : M . J . McRobert, CBE, FCAArt Director: Gabriel White, CB EDeputy Art Director: Robin Campbell, DS ODrama Director: J . L . Hodgkinson, OB EDeputy Drama Director : N . V. Linklater, OB EMusic Director : John CruftDeputy Music Director: Eric Thompso nAssistant Secretaryand Literature Director : Eric W . White, CB EAssistant Literature Director : Charles Osborn eAccountant : Anthony Field, FC AAssistant Accountant: Alan P . Ritchie, ACA

Scotland

11 Rothesay TerraceEdinburgh 3031-225 276 9

Director: Ronald Mavo rDeputy Director : Donald Mathe r

Wales

Holst Hous eMuseum PlaceCardiffArt and General : 0222-3272 2Music : 0222-43055

Director : Aneurin M . Thomas

7

Contents

page 9 Introductio n

11 A new charter

16 On the margi n

18 Housing the art s

22 Theatre f or you ng peopl e

25 Report on the needs of the subsidized theatre in Londo n

28 Changes in the musical scen e

30 Poetry in the making

33 Scotland

41 Wales

Appendices

49 A The new charte r

53 B List of art exhibition s

57 C List of poetry manuscripts acquisition s

60 Accountant's notes

62 Annual accounts

The cover and dividing pages are image sprepared forthe report by Gordon House

i /AI

ma

as

A chairman's note

Although the Arts Council is now a well-established institution, its policy and workingmethods are by no means fully evolved . The additional resources-given to us by aGovernment anxious to stimulate and develop the work we do-have emphasized th eproblems and difficulties that confront us.

The major problem is to define our scope . We remain and always will remain an auxiliarybody . Artistic activity would, . happily, continue without us, and the contribution we ca nmake to promoting artistic output will always be arguable . On this score we take a modestview. We have no evidence that poets, authors, painters or composers-or any creativ eworkers-are the more fertile because we exist and give them our support . It would b ecomplacent to entertain such beliefs . But that does not detract from the relevance of a bodywith a function to improve the working conditions of artists and to preserve and enlarge thei rpublic .

For it is this latter function that constitutes our major activity, and the highest service that w ecan render to the artist. And it is to this objective that the bulk of our resources and energie shave been and will continue to be devoted .

There are few thinking people to whom the need for artistic subsidy would have to b ejustified today. It is not a matter of choice. I n some ways, it might be preferable to live in asociety where the measure of private support for our activities obviated the need for Stat eassistance. But such a society has totally ceased to exist . The fiscal policies of everyGovernment in our memory have contributed to a situation where private bounty o rinvestment is now totally inadequate to sustain a civilized ration of music and theatre, o fpoetry and picture . Nor need we be remotely apologetic in asking for the modest sums w eneed for our purposes from the public purse . The Government has garnered in much, if no tmost, of the wealth that cultured patricians and public-spirited industrialists could formerl ybestow . It holds a portion of its treasury charged with a trust to use it for our purposes-and,in fairness, the growth of the Arts Council in scope and importance demonstrate sgovernmental recognition of this principle .

We have, we believe, started to evolve a firm policy-and the pages of this report furnishsome guide to it . But it must be protean . We do not exist to plan artistic and cultural projects .Very few are the fruit of direct Arts Council labours . And this is as it should be. The larger th eextent of national subsidy, the more vital that it should neither bear norseem to bear theimprint of a single body. Artistic life in this country must not be dominated by a small ,non-elected appointed caucus in St James's Square . The avoidance even of th epossibility of such domination is a conscious plank of our policy . Thus we encourage loca lplans and promotions; thus we encourage the development of a sensible regionalism-no tthe 'fragmentation' of established important institutions or the notion that every town mus thave an opera house, but the support of the thesis that in a great and closely populate dcountry it is an absurdity that every major artistic institution should be crowded into themetropolis.

We recognize with humility the magnitude of our problems . How shall we reconcile th ediffusion of money and effort with the maintenance of quality 1 How can we find enoug hmoney to promote important new ventures without danger to those already established an dentitled to a legitimate growth factor 1 How can we find, train and support the ne wadministrators upon whom the whole operation depends 1

Over the years we have made an active and tangible contribution to the scene . But certainlynot alone . And this is welcome . The contribution of the B BC to the spread and quality ofBritish music is epochal . There are great areas for collaboration . The English Theatreflourished under private management before we were dreamed of . It is our duty, in th eadministration of subsidy, to co-operate with its best elements . Whether we can or should i nthe end give direct aid to private managements is a problem we are now investigating.

1 0

Junior panel

During 1966 the Council decided to appoint not more than two junior members to each o fmembers

the Panels . The Council considered that students and ex-students, aged eighteen t otwenty-five, with suitable qualifications and artistic interests, formed an important grou pwhose views could not easily or regularly be made known to the Council without specia lmachinery. Thefirst appointments in this category are noted in the lists of Panel member son pages 2-6 .

Minister with special

We applaud the Government's decision, announced on 14th February, 1967, to appoint th eresponsibility for

Right Hon . Jennie Lee, M P, Ministerof State of the Department of Education and Science .the arts

Miss Lee previously held office as Joint Parliamentary Under-Secretary of State of th eDepartment .

We offer our congratulations on the following awards :

New year honours

Sir John Witt, a member of the Council and Chairman of the Art Panel (Knight Bachelor )1967

Mr George Singleton, a member of the Scottish Arts Council (CBE )Mr N . V . Linklater, Deputy Drama Director (OBE )

B irthday honours 1967

Sir Robert Sainsbury, a member of the Art Panel (Knight Bachelor )Mr Hugh Scrutton,a member of the Art Panel (CBE )Alex J . Gordon, DipArch, FRIBA, a member of the Welsh Arts Council (OBE )Miss Elizabeth Davison, Assistant, Art Department (OBE )

Obituaries

Brian Dunn died suddenly on 1 st July, 1967 . Before leaving the Council's service on 1 s tDecember, 1965, to become Manager of the New BBC Orchestra in Bristol, he had been amember of the music staff for some fifteen years, as a Regional Music Officer, and then as th eLiaison Officer to the National Federation of Music Societies, where the professionalism o fhis advice won him great respect and many friends .

A . C . Taylor died on 9th April, 1967, after more than eighteen years' service with the Council .The Art Director writes : His long experience in foreign transport and agency gave him th equalifications needed to cope with the Council's growing liabilities at that date in th eorganization of foreign exhibitions . These he successfully undertook, and his unstinte ddevotion and knowledge of all the problems involved were largely responsible fo restablishing the Council's reputation in this field . When he was first involved in 1947 in th etwo earliest major exhibitions of the Arts Council-Van Gogh paintings and drawings an dFrench tapestry-he was not a member of the staff . He was at that time new to the problems o fhandling works of art, but he soon acquired the necessary knowledge and no one was stricte rin ensuring the fullest security and the most careful handling of all the exhibitions for whic hhe was responsible . He was soon a well-known and popular figure with foreign transpor tagents in many countries with whom he came in contact . For eighteen years he personall ysupervised the moving of all the Council's larger exhibitions and it was only because of hi swhole-hearted dedication to the task that an extensive programme was successfull yachieved through so long a period . In the last year or two he continued his duties unde rconsiderable difficulties due to increasing ill health . He was shortly due for retirement whe nhe became seriously ill and had to undergo an operation . It was sad he was never able t oenjoy a retirement he had so richly earned .

vieSecretary General

1 1

A new charte r

The first of the two main objects of the Arts Council of Great Britain, as re-defined in ou rnew Royal Charter of Incorporation, granted on 7th February, 1967, is :

'to develop and improve the knowledge, understanding an dpractice of the arts' .

The second is :

'to increase the accessibility of the arts to the publi cthroughout Great Britain' .

Forthese purposes the Government provided in 1966/67 the sum of £5,700,000 . TheGovernment has also appointed the Chairman and the other distinguished persons whos enames appear on page 2 of this report, to exercise full responsibility for matching th eCouncil's financial resources appropriately to its formal objects .

The strategy and tactics of this operation have varied from time to time during the decades o fthe Arts Council's existence, as the volume of our resources has grown, and the pattern o fartistic activity in Great Britain has evolved . In a debate which took place in the House o fLords on 19th April, 1967, just after the end of the financial year now under review, ou rChairman said :

'There has been-and I admit it frankly to the noble Lord ,Lord Cottesloe-some change of policy and some change o femphasis since his day. I do not say that our policy is an ybetter, but it is different, in the sense that our major emphasi sis on cultivating new audiences for the arts . The question o fimproving the standard and quality of those institutions whic hare still there is of great importance, but it is not ou rparamount consideration . . . . I believe that there is a crucia lstate in the country at this moment . I believe that young peoplelack values, lack certainties, lack guidance ; that they needsomething to turn to; and need it more desperately than the yhave needed it at anytime in our history-certainly, at an ytime which I can recollect. I do not say that the Arts wil lfurnish a total solution, but I believe that the Arts will furnis hsome solution. I believe that once young people are capturedfor the Arts they are redeemed from many of the dangerswhich confront them at the moment and which have bee noccupying the attention of the Government in a completel yunprofitable and destructive fashion . I believe that here wehave constructive work to do which can be of inestimabl evalue . '

Yet a certain continuity of policy is dictated by the unchanging nature of the task to b eaccomplished : Lord Cottesloe, at the end of the debate, spoke of his pleasure in hearin gLord Goodman, 'with hardly a word of whose speech I would disagree' .

Most of the Council's day-to-day work consists necessarily ofd ecisions taken ad hoc, but a nattempt will be made in this report to bring up to date the descriptions, which have often bee npublished before, of the principles in view and the techniques employed .

In the first place, the Council is concerned with artists . The preservation and exhibition o fthose great works, whether of sculpture and painting, or of music and letters, which constitut eour legacy from the past, are to some extentthe responsibility of other organizations . So far a sthese activities depend upon the interpretative work of living artists, they are our business .

12

Shakespeare depends on actors, as Beethoven, Verdi and Petipa depend on musicians ,singers and dancers . It is a duty of the Arts Council to see that these artists are enabled an dencouraged to provide the people of Great Britain with the best possible presentation of th emasterpieces . All this is relatively easy . What is more difficult, because it must be done wit hmuch less prospect of sympathetic understanding and support from the great mass of th eart-loving public, is the encouragement of contemporary creative artists .

For many years, the Arts Council took the view that the severely limited public fund savailable oughtto be devoted entirely to the support of institutions and enterprises, rathe rthan individuals . There are several trusts, bequests and private benefactions at the Council' sdisposal which have regularly been used to help individual artists to pursue their own careers ,but it was thought inappropriate to use the Government grant in this way to any appreciabl eextent . In February 1965, the Government itself sponsored a radical change in this policy, b yissuing a White Paper (Cmnd . 2601) entitled A Po/icy for the Arts, which contained th efollowing passage :

'As has been said, one of the main objectives of th eGovernment's policy is to encourage the living artist . Atpresent the young artist, having finished his schooling, ha sstill to gain experience and has difficulty in obtainin gemployment . Manyturn aside to other types of employmentbecause the life of the artist is too precarious, and theirtalent sare not used to the best advantage . Painters, poets, sculptors ,writers and musicians are sometimes lost to art for lack of acomparatively small sum of money which would supporttheir start in life . The increase in the Government's grant t othe Arts Council will enable them to raise from about£10,000 to £50,000 the sum allocated for awards an dassistance to young artists in all fields . Awards can be use dfor travelling abroad and study if so desired . '

Since that time, the Arts Council has given prizes for books and plays, bursaries an dmaintenance grants for writers, purchase awards and sabbatical terms for painters an dsculptors, commissions to composers and choreographers, and analogous persona lbenefactions, on a greatly increased scale .

As was expected, this development provoked some public criticism . The Council ha sendeavoured to profit by all this advice, in the routine process of evaluating and modifyin gits own initiatives. No one responsible for the disbursement of money for the improvement o fstandards in the arts in a country would ever claim that some of the money so spent might not ,with hindsight, have been betterspent in some other way : the accounts for 1966/67 in thi sreport are there to substantiate the Council's case that this money was we//spent . For it i strue, and needs to be more widely known, that creative artists in Great Britain are too ofte ninsufficiently rewarded fortheir life's work . In the single instance of literature, nearly half thewriters who, from 1963 to 1965, were solely or principally occupied with authorship earne dless than £10 a week by the whole of their literary work (R . Findlater, The Book Writers, 1966 :page 11) . Mutatis mutandis the case is the same for painters, sculptors and composers : apartfrom a few established names of international repute, they would be living in absolute penur yif they lacked both private means and public subsidy, and devoted all their energies to thei rcreative work . So long as this position of affairs continues, and the situation of interpretativ eartists remains little better, it is idle to expect progress in 'developing and improving th epractice of the arts' .

As a matter of economic theory it might be argued that the livelihood of artists ought to b eprovided by the people who enjoy their work . In practice it never has been : and the actions ofsuccessive Governments in this country, in setting up the Arts Council and empowering local

1 3

authorities to subsidize the arts from the rates, recognize the absolute necessity, in moder ntimes, of public patronage . But if patronage is to work, it must benefit artists . Free libraries,free public galleries, cheap seats at the theatre, will not keep the arts alive if the conditions o fexistence for living artists are such as to drive them out of their professions, and discourag ethe most intelligent newcomers from devoting themselves to their true vocation . Genius ma ysurvive in garrets, but common sense and humanity alike reject this as an adequate solution o fthe problem .

Whether this limited form of patronage should be aimed directly at enhancing the status of theprofessions by signally honouring and rewarding outstanding successful work, or rather a timproving the chances of good and promising artists who have not yet achieved outstandin gsuccess, is not a question that can be finally decided in categorical terms; it must remain amatter of degree, and the policy that may be the wisest at one point of time for one art ma ynot suit a different set of circumstances . This is a major difficulty which the Council cannotescape. Again, the selection of beneficiaries will always be invidious, and even the principl eof selection can be controversial : if it is decided boldly to help as many young artists a spossible, so as not to miss the chance of picking a Shelley or a Constable, one result will b ewholesale encouragement of mediocrity . Mistakes are inevitable, but it would be a counse lof despair to withdraw from the policy adopted in 1965 because of occasional failures in it sadministration .

A second major concern of the Council is the well-being of the great national institution swhich embody the achievements of the nation's artistic efforts in the best attainabl econditions, and form as it were an international show-case. It is, simply, essential that th ecapital city of a civilized country should have fine theatres . The international reputation of th eRoyal Opera House, the Royal Ballet, the National Theatre, and the Royal Shakespear eTheatre must be sustained for this reason, and the Arts Council is glad and proud to have th emain responsibility for ensuring it, as a matter of national policy . The lead and stimulu sprovided by these institutions is also invaluable forthe welfare and vigour of the lyric an ddramatic theatres throughout the country .

Nevertheless, the inevitable fact that the finest theatrical experience in Great Britain i sordinarily to be found in the capital presents a serious challenge to the Arts Council, becaus eof the second of the Council's defined objects, 'to increase the accessibility of the arts to th epublic throughout Great Britain' .

In this work of dissemination, the Council has powerful allies . Many of the great provincia lart galleries, as for example the Walker Gallery at Liverpool, can and regularly do presen tlarge-scale exhibitions with metropolitan standards of skill and taste . Manchester ' s LibraryTheatre has for twenty years served the local public with good drama, well produced an dwell acted, with no subsidyfrom us . Local authorities in other parts of the country have take npride in responding to local initiatives before the Arts Council was in any position to join the m

as'Partners in Patronage ' (to quote the title of our 16th Annual Report) . Local educationauthorities have done much to improve and extend the artistic content of the curricula i nschools, and in centres of further and adult education . The British Broadcasting Corporation ,and to some extent the independent television companies, have devoted money and resource stowards the satisfaction of more exacting requirements than those of the mass audiences ,and thus contributed to the improvement of popular knowledge, understanding an dappreciation of the arts . Impresarios have organized visits to this country by foreign artists andcompanies of the highest international standards, to the great benefit of the public .

The role of the Arts Council in all this activity is slight, or at best secondary . Apart from th ework of the Art Department, and the special case of Opera forA//, the Council no longer brings

the Arts to the people in England by direct promotion . But our support of independent theatr ecompanies, orchestras and other locally-based artistic enterprises has grown in scale so as to

be of real national importance . It is hard to imagine how the pre-eminence of Great Britain

14

in the theatre world of today could have been achieved without the Council's contribution t othe development of the associated group of theatres named on page 89 of this report ; and it i scertain we should not today have four first-class regional symphony orchestras in England i ftheir financial stability had depended on regional sources of supply. The Council's financia lsupport of independent institutions is constantly aimed towards enabling the people of Grea tBritain increasingl y to enjoy all that is best in the artistic life of the country ; and thus, b yimproving national standards of appreciation, we aim once moreto stimulate and encourag ecreative and interpretative artists .

It is easier said than done .

If the Council accepted at face value criticisms occasionally received from the public abou tthe allegedly ' disgusting ' , 'decadent','alien' or ' incomprehensible' productions in literature ,drama, music and the visual arts which receive part of our subsidies; and if at the same tim ewe withdrew our help from Covent Garden (because it has been described as a ' museum ofmusical antiquities'), from orchestras playing obsolete nineteenth-century symphonies ,from theatres which present old-fashioned pantomimes at Christmas, from representationa lpainters and traditional poets : in these conditions we might easily satisfy all our helpfu ladvisers, except the less vocal majority who care for the achievement of our declare dobjectives.

Instead, the Council endeavours to find a constructive policy in which the first, rather modest ,ingredient is financial common sense, or good housekeeping . Being charged with the duty oflaying out some of the products of taxation, we are obliged to consider what value we get fo rthe money. There is no prima facie case for subsidizing work which the public is ready t osupport to such an extent as to give a reasonable return to theartists and promoters concerned .Occasionally our help brings in some net financial gain to the Arts Council : it happene dnotably in the case of the Council's exhibition of Picasso's painting at the Tate Gallery i n1960; it happens from time to time through the eventual commercial success of a play whos eorig inal production was guaranteed by the Council . Normally, however, subsidy should gowhere it is needed . This need not involve the pauperizing consequences of a stringent'mean stest ' (unless the Council's grant were seriously inadequate), but where we are backing awinner, it behoves us to make sure that the profits are ploughed back to the best publi cadvantage . If we could reach the point where public support was so effectively stimulated a sto make subsidies unnecessary, this would be the supreme justification of our work . In th emeantime, we ought not to waste our resources on enterprises which prove in practice to b equite unacceptable to the public . There is a level of persistent failure, in this sense, that mus tbe regarded as definitive. Between these two extremes, the Council must find the bes tcompromise, encouraging promise wherever it is found, but not losing touch with reality . I fthe horse finally will not drink, it is a waste of effort to bring him water .

This means that the Council must be as much concerned with the managerial efficiency of ou rclient concerns as though we were in business for gain-a consequence which client ssometimes fail to appreciate very kindly : and it is very much in the Council's interest tha tcapable administrations should be employed in these non-profit-distributing companies . Thenewly-founded management course for art administrators which the Polytechnic School o fManagement Studies is running at our request and with our collaboration, should hel p in thi sdirection .

While our functions can thus be compared to those of an unusually benevolent banker, the yare on the other hand necessarily selective . To spend money on bad work is just as wastefu las spending it on'subsidizing emptyseats' . Here, however, the criteria are even less easy t odefine. It would be unrealistic as well as arrogant to suppose that patterns of artisti cperfection were laid up in St James's Square-or anywhere else . The Council is advised b ypanels of qualified experts, and served by experienced staff, in order to decide whether or no tany particular application for help shows the quality of achievement and promise that justifies

1 5

support from a public body dedicated to the improvement of standards . If so, and if money ca nbe found, the client will be expected to fulfil our expectations of him . Unless experience show sthatthe firstdecision was seriously wrong, he can count on a continuance of support . In thi sway, the Council will hope that its efforts, over the years, contribute towards making mor eand better work in all the arts accessible in better conditions to more people in Great Britain .But the acknowledgment of Arts Council assistance printed in a programme, catalogue, o rmagazine, is not meant to be regarded as a certificate of quality, workmanship and taste .

Within these general conditions, the Council acknowledges a duty to foster potentiall yinteresting experiments . In this field least of all will it ever be possible to predict success, eve nartistic success. But it is here that our work impinges most directly on the vigorous aspiration sof young artists, and the vital questing appetite of young audiences, readers and spectators .Something was said of this in the last Annual Report, but it will bear repetition . Whether i ntheatre, music, the visual arts or literature, we aim our subsidies to increase public appreciatio nof fine work . If the work comes from contemporary British artists, so much the better . If theincreasing public is young, so much the better still, because this promises a favourable climatefor the arts in the future-and also because the nation requires and deserves a better qualit yof life for the coming generation .

The Council and its Panels continued during the year under review the essential work o ffact-finding, on a larger scale than hitherto . The Drama Panel in particular produced a usefu lreport, summarized on pp . 25-6 below, which gave rise to considerable discussion an dsome controversy: it has become a basis for a further enquiry into the condition of the theatrein Great Britain as a whole . This major enquiry has been entrusted to a special committee o fpeople of wide and varied experience who have volunteered to work under the chairmanshi pof Sir William Emrys Williams, CBE. DLitt . The Council's enquiry into the future of Operaand Ballet in Great Britain has continued, and may be expected to result shortly in acomprehensive report .

16

On the margi n

Sometimes the Arts Council is associated with activities concerning artistic matters, which d onot call for direct report since they result in no actual allocation of Arts Council grant-aid .During the year under review, there were three matters of this kind deserving special mention .

Theatre censorship

In January 1965, the Arts Council appointed a special Committee of Enquiry to examine th eproblem of Theatre Censorship and to make recommendations . This Committee consisted ofrepresentatives of the main theatre organizations and of individuals with special interest i nand knowledge of the subject .

Apart from two dissenting commercial managers, the Committee found itsel funanimous in recommending that pre-censorship of plays should be abolished, subject t ocertain safeguards for the interests of managers . To this end, the Committee reverted to theRepeal Bill introduced in Parliament in 1949, as this had the moral advantage of havinga Iready won the support of a two to one majority on a free vote of the House of Commons o nSecond Reading and had then passed the Committee Stage . (Thereafter, it lapsed for th etechnical reason that, being a Private Member's Bill, its progress was automatically cut shor tby the ending of the Session, and could not be reintroduced afresh unless its sponsor ha dagain been lucky in the Ballot . )

The Committee, however, proposed the three following modifications to the 1949 Bill :

1 The abolition of censorship for a trial period of five years ,with provision of adequate safeguards for the protection o fmanagements and dramatists on the lines contained i nMr Benn Levy's Censorship of Plays (Repeal) Bill o f1949 .

2 That Clause 4 of the above B i I I which deals with th erepresentation of living persons on the stage be deleted .

3 That a further clause be added limiting the period duringwhich a prosecution may be commenced against an ymanager or owner or a theatre or dramatist or any othe rperson directly or ind irectly responsible for or associate dwith the production or performances of a play to withi nthe first sixteen performances of the play and that no ba ncould be imposed until those sixteen performances hadtaken place.

The Arts Council gave full and careful consideration to this Committee's Report at meeting sheld during 1966 and finally agreed to associate itself with the proposal that the presen tsystem of theatre censorship should be abolished, but to add a recommendation that th epossible advantages of a system of voluntary censorship should be further investigated . Thesafeguards proposed by the Theatre Censorship Committee were accepted, except that th eCouncil did not endorse the proposal to limit the permissible period for prosecution or for th eimposition of a ban in terms of the first sixteen performances of a play ; and, further, th eCouncil would substitute in the Bill 'a suitable expert committee' fora Judge in Chambers 'as the appropriate authority to give leave for a criminal prosecution .

Subject to these comments, the Report on Theatre Censorship was submitted to the Join tCommittee on Theatre Censorship in October 1966 .

Authors and the

For many years the Society of Authors has been anxious to promote a situation where th esale of copyright

sale of copyright by an active author-which has already paid tax for a reasonable literaryexpectation of life-should rank as a capital asset . An amendment in this sense to the 196 6Finance Act by Sir Edward Boyle was withdrawn when early in 1967 the Treasury agreed to

1 7

receive a deputation representing the Arts Council and the Society of Authors . As a result o fthis move, the Chancellor of the Exchequer made the following announcement in his Budge tspeech on 11 th April, 1967 :

'A further proposal will help the professional author or othe rcreative artist who sells, for a lump sum, the residual rights in awork which has been before the public for ten years or more .He will no longer have to pay tax on the lump sum as if it wer ethe income of a single year but, instead, will be entitled t ospread the lump sum forward over a period of up to six years .This will meet the complaint that has been strongly urged i nthe past . '

This concession, although less than we hoped for, wil I be of real assistance to many authors ,particularly, for instance, those whose income from writing has dropped to a comparativel ylow level, and who suddenly have the chance of selling the film rights in an early novel .

Public lending right

One of the first actions of the Literature Panel when it was created atthe beginning of 1966 ,was to ask the Arts Council to set up a special Working Party to investigate the question o fPublic Lending Right . This was done, and a report on Public Lending Right with proposal sfor a specific system to be set up in the United Kingdom was presented to the Council by th ePanel in April 1967 . The Council agreed to adopt the Report and to submit it formally to th eDepartment of Education and Science for consideration . As thesuggestion is that a gran tshould be made available from central government funds, legislation can be initiated onl yby the Government .

18

Housing the arts

The Council 's 21st annual report Key Year included a Schedule of Housing the Art scommitments which the Council had undertaken during 1965/66 totalling £100,000 ove rand above the grants of £150,000 paid in that year .

In 1966/67 the Council was authorized to enter into fresh commitments, over and abov ethose authorized in 1965/66, to a total amount of f :500,000 . Out of the new commitmentstotal the authorized maximum of £200,000 was paid in outright grants, leaving a balance o f£400,000 to be carried into 1967/68 as future commitments .

Fourteen of thetwenty-four grants were paid towards the cost of new schemes and th eremaining ten were additional amounts given towards schemes commenced in 1965/66 .The grants totalling £200,000 can be found in detail at the end of each Schedule 3 of th eCouncil's accounts for England and Scotland on pages 94 and 107 . A Schedule of thecommitments of £400,000 can be found at the end of the Accountant's Notes, on page 69 .The figure does not appear in the accounts since these are amounts earmarked to be offere dout of our grant-in-aid for future years .

The White Paper, 'A Policy forthe Arts', explained that the funds provided for'Housing th eArts' were'to encourage regional and local authorities to develop their plans in this field . I fthis has the desired effect, the Government will be ready, when the time comes, to conside rauthorizing the Arts Council to enter into substantially higher levels of commitment in futureyears .' The 'desired effect' resulted in the Civil Estimates for 1966/67 authorizing acommitment for new schemes of £500,000 (as against £250,000 in 1965/66) . The Civi lEstimates for 1967/68 authorize a further £500,000, with provision for paying grantstotalling £300,000 in 1967/68, as against £200,000 in 1966/67 .

Even these new figures, encouraging as they are, cannot embrace really large-scale schemesfor Opera Houses, Theatres and Art Galleries (to form'cultural precincts'), whether i nManchester, Edinburgh or other cities . Accordingly, it has been agreed that any additiona lGovernment funds to be made available to the Arts Council for such projects will be th esubject of separate consideration .

Among the events which have been made possible, in 1966/67, by the use of Arts Counci lfunds for housing the arts, a few may be picked out from different parts of Great Britain . Theconversion of the Maltings at Snape into a concert hall was the occasion for an exceptionallydistinguished opening of the 1967 Aldeburgh Festival, while the 1967 Chichester Festiva lseason has benefited by the additional work on and improvements to the building . In Londo nthe Carlton House Terrace scheme will be a major achievement when completed : othe rsignificant projects are in hand in Scotland, with the creation of a small arts centre in th eOrkneys at one end of the scale and, at the other, a scheme at Motherwell to construct aconcert hall and small theatre in the new civic centre .

Commitments undertaken at present will help to provide new theatres at Ipswich, Harlow ,Leatherhead, Chester and Bromley ; all within the next few years .

The Housing the Arts Committee meets during the year to discuss all applications to the fund ,and recommends to the Council the allocation of cash grants and commitments .

It has been found necessary to re-allocate monies at various stages throughout the year since,in this period of financial restriction, difficulties experienced in raising matching fund slocally often result in the postponement or cancellation of a scheme. Also the Council i spermitted to share expenditure only on a £ for £ basis over the period in which it is incurre dand must ensure that the balance of funds required to meet the cost of the work is available .This stipulation often necessitates an adjustment in the allocation of grants an dcommitments .

1 9

Housing the arts is now in its third year . It is interesting to record these years by plotting on amap the sites of projects to which the Counci I has offered capital subsidy . In order to kee pthis'up to date'the map includes proposed recipients of cash grants and commitments i n1967/68 . (These are indicated by an asterisk . )

As the Council has about 200 applications still outstanding it is not surprising that, withi nweeks of the start of the 1967/68 financial year, the whole of the year's cash and commitmen trations were fully allocated .

20

Housing the arts 1965/66,1966/67 and 1967/68

Englan d

1 Winter Gardens, Bournemouth2 Sadler's Wells Theatre3 The Maltings, Snape4 Colston Hall, Bristol '5 Camperdown House (Sadler's Wells) `6 Adeline Gen6e Theatre, East Grinstead '7 Central Hall, Chatham '8 New Repertory Theatre, Birmingha m9 Yvonne Arnaud Theatre, Guildfor d

10 Theatre Royal, Yor k11 Playhouse, Sheffield12 New Repertory Theatre, Ipswic h13 Greenwich Hippodrome14 Playhouse, Liverpoo l15 Theatre Royal, Bury St Edmunds16 Chichester Festival Theatre17 Richmond Theatre18 Mermaid Theatr e19 New Repertory Theatre, Bromle y20 New Civic Theatre, Harlow '21 New Civic Theatre, Chester'22 New Civic Theatre, Taunton '23 Thorndike Theatre, Leatherhead '24 Empire Theatre, Sunderland'25 Playhouse, Derby26 Tower Theatre, Canonbury '27 Maddermarket Theatre28 Cygnet Theatre, Cannon Hil l29 Octagon Theatre, Bolton '30 New Theatre, Kingston-upon-Hull '31 Theatre Royal, Norwich '32 Playhouse, Weston-Super-Mare '33 New Repertory Theatre, Sheffield '34 Morley Colleg e35 Art Gallery, Malvern '36 Dorset County Museum Gallery, Dorcheste r37 Towner An Gallery, Eastbourn e38 Carlton House Terrac e39 City Art Gallery, Bradford '40 An Gallery, Hove '41 Rye Art Gallery'42 Art Galleries, Tewkesbury'43 Shipley An Gallery, Gateshead '44 Public Art Gallery, Royal Leamington Spa '45 Whitworth Art Gallery, Manchester *46 Boston and District Arts Centr e47 Theatre on the Steps, Bridgnorth48 Swan Theatre and Arts Centre, Worceste r49 St Austell Arts Club and Theatre50 Weymouth and South Dorset Arts Centr e51 Netherton Arts Centre, Dudle y52 Bristol Arts Centre53 Arts Centre, Lincol n54 Falmouth Arts Centre55 Little Angel Theatre, Islington `56 Shaftesbury and District Arts Clu b57 Avoncroft Arts Society Hall '58 Kenton Theatre, Henley-on-Thames59 Swindon Arts Centre'

60 College Hill House, Shrewsbury '61 People's Theatre, Newcastle-upon-Tyne '62 Shaftesbury Theatre, Dawlish '63 Athenaeum Arts Centre, Warminster '64 Bluecoat Society of Arts Exhibition Gallery,

Liverpool '65 Commonwealth Centre, Bishop's Stortford '66 New Arts Centre, Stevenage '

Scotlan d

67 Arts Centre, Kirkwal l68 Festival Theatre, Pitlochry69 New Theatre, Dumbarton "70 New Theatre and Concert Hall, Motherwel l71 New Arts Centre, Glenrothes "72 Garrison Theatre, Lerwick '73 New Byre Theatre, St Andrews '

Wales

74 Welsh National Opera Company Headquarter s75 Arts Centre, Prestaty n76 New Theatre,Llangefni •77 Little Theatre, Wrexham '

1967/68 proposed cash grants and closin gcommitments

2 1

ne667

1 31 8263 4

3855

22

Theatre for young peopl e

A plea was recently made at a meeting of the Drama Panel for consideration to be given b ythe Arts Council for the special provision of theatre for o/d people . It may well be that thereare others who in the face of the repeated emphasis on youth have been made to experience asimilar reaction . However, it was only in the last Annual Report that it was necessaryto writ eof a ' life-saving' operation to ensure the survival in 1967 of at least some of the existin gchildren's theatre companies in this country . It is at this point that this report of furthe rdevelopments is here taken up . It will be remembered that the Arts Council had agreed tha tthe Drama Contingencies Fund forthe year 1966/67-in the absence of any specia lallocation in that year being made available by the Department of Education and Science -should be used for this emergency . Five children's theatre companies were therefore give nlimited financial assistance at this time following recommendations which had been made b ythe Committee of Enquiry whose Interim Report on the provision of theatre for young peopl ehad been submitted to and accepted by the Arts Council earlier in the year . Details of thes egrants will be found in the Annual Accounts on page 89 . In the current financial yea r(1967/68) the policy of the Arts Council with regard to theatre for young people has nowbeen established by the setting up of a Young People's Theatre Panel to advise the Council ,with an allocation of £90,000, approved by the Department of Education and Science, to b eapplied specifically for expenditure in this field .

The first meeting of the Panel was held in January of this year . A full list of its members i sset out on page 5 of this Report . As in the case of the original Committee of Enquiry, the Pane lis composed of individuals actively engaged in the theatre and in education, or both : severa lpeople who served on the Enquiry were appointed as members of the new Panel . TheChairman of the Panel (Miss Constance Cummings) and the Deputy Chairman (Mr Hug hWillatt, Chairman of the Drama Panel and previously also Chairman of the Committee o fEnquiry) are both members of the Council and also form a link with the Drama Panel i naddition to Mr Stuart Burge and Mr James Saunders who are likewise members of the twoPanels . Following the pattern of all other Arts Council advisory panels two junior member shave been appointed to the Young People's Theatre Panel . The administration of this part o fthe Arts Council's work continues to be handled within the Drama Department . All theseelements of liaison are designed to ensure that the responsibilities of the Young People' sTheatre Panel are recognized as a vital and essential aspect of the Arts Council's work fo rtheatre throughout Great Britain .

In its short life the Young People's Theatre Panel has acquired a unique character . While al lthe other advisory panels to the Arts Council certainly draw very widely for their membershi pfrom within their specialist fields, the Young People's Theatre Panel is exceptional in it sgathering together of people from the two differing -though allied-worlds of drama an deducation . This friendly confrontation combined with a close and critical interest in th ematters under discussion has already germinated ideas of the greatest value to the Art sCouncil .

It will be remembered that when the Committee of Enquiry began to set about its task, it wa sagreed that the operation should be divided into three phases . The Committee's Interi mReport to the Arts Council covered only Phases I and I I-the professional children's theatrecompanies, and the work being carried out for young people bythe existing repertory an dother professional adult companies . The Council's present responsibilities are limited t othose activities included in these two phases . It was agreed that action on Phase I I I -a surveyinto the field of Drama in Education, Youth Drama, Amateur Children's Theatre, Radio, Tele-vision, etc ., together with an investigation into the fundamental needs of children in Drama -should be decided later after consultation with the Department of Education and Science . Asurvey of drama in education, commissioned by Miss Jennie Lee and carried out by Mr Joh nAllen, H M I, which is now complete, covers most of Phase I I I apart from radio and television .

The achievement at this stage therefore covers the establishment for the first time of a ne wadvisory panel for young people and the theatre, and a first allocation granted by the Arts

23

Council for expenditure on this work . This is heartening progress and only part of a majo rdevelopment which is taking place throughout the country . It is far beyond the scope of thi sReport to attempt any kind of general review of so wide-ranging a movement, and it is onl ypossible to touch on those activities with which the Arts Council is in some way alread ydirectly associated . Even here there is a limitation, since the grants made from the allocatio nof £90,000 mentioned above are for 1967/68 and not the year under review in this Report, soany preliminary assessment of the benefits of these grants must be held over until next year .

The Arts Council is not alone in forming a special section for young people's theatre . TheFederation of Repertory Playgoers ' Societies-which in 1963 passed the resolution tha tfinally led to the Arts Council setting up the Committee of Enquiry-now have a junio rpartner in the recently formed Federation of Young Playgoers . The Council of Repertor yTheatres has for some time had a Children's Theatre Section where important matters o fcommon interest are discussed . It should also be noted that at a meeting convened by th eCouncil of Repertory Theatres and the British Children's Theatre Association in 1966 it wa sdecided to form the National Council of Theatre for Young People as a body to concer nitself with the co-ordination and development of this work .

The largest and most comprehensive scheme for young people is at Cannon Hill Park ,Birmingham, where Mr John English, thanks to generous support from private, local authori-ties and central sources, has been able to forge ahead with the expansion of the Midlands Art sCentre catering for interests in all the arts. An impressively equipped studio theatre is now i noperation and the building of one of two full-scale theatres has been started . This autumn ,Mr English will be running a professional company playing in repertoire to three differen tage groups. Miss Caryl Jenner has succeeded in finding a permanent base for the Unicor nTheatre for Children at the New Arts Theatre in London where she plans to present season sof plays aimed to please a wide range of young tastes as well as inviting other children' stheatre companies to perform at the theatre . The Everyman Theatre, Liverpool, continues i nits Hope Street premises playing to schools and young people as well as adults . However,the problem of suitable accommodation for young people's theatre remains for the ArtsCouncil a most pressing matter . One of the principal recommendations of the Committee o fEnquiry was the establishment of a permanent children's theatre in London and the ne wPanel has not delayed in setting up a Building Committee which has begun to investigatepossible sites .

Much progress has been achieved by many of the adult companies in anticipation of an ygrants made by the Arts Council from the 1967/68 special allocation . There has been adetermination to go ahead with this work and in many areas the theatres have been greatl yencouraged by the co-operation and financial support of local education authorities . Incertain places where help has not been immediately forthcoming from such sources th etheatres have organized activities without special provision of either staff or finance in thebelief that it was work that demanded to be done . It is the Arts Council's hope that in tim eall education authorites will come to co-operate with the theatres to the same degree a sthose authorities who have been so successfully pioneering in recent years .

The activities undertaken for young people by the adult theatres areas varied as the theatre sthemselves . Some, such as the Nottingham Playhouse, now have a long record of speciall ymounted schools tours and special performances in the theatre, financed by the loca leducation authorities: in other places, such as Sheffield, Salisbury and Canterbury, rapi dprogress has been made in the past year following the formation of groups of actors attache dto the theatres who visit schools with specially mounted programmes (Sheffield's Theatr eVanguard began this spring with a two-week trial run and will be operating on a full scale thi sautumn) : othertheatres, such as Chesterfield, prefer to concentrate on encouraging schoo lparties or individual schoolchildren to attend performances at the theatre itself in the belie fthatthis provides a better theatrical experience (at Chesterfield £1 membership of a club givesfree admission to performances) : others arrange demonstrations and discussions as part of

24

a theatre visit . The Oxford Playhouse is a notable example of success achieved after severa lyears' co-operation with local schools . Under Mr Frank Hauser's direction complete daysare organized at the theatre for children from local schools who take part in demonstrations a swell as attending a performance . These activities have led to a remarkable revitalizing of th ewhole audience at the Playhouse where the company has recently been enjoying ver ysuccessful seasons . The English Stage Company at the Royal Court is winning a new youn gaudience by means of a student ticket scheme (100 seats at only five shillings are set asid eat every performance for young people) as well as by special programmes for schools .The Mermaid Theatre is trying to break through the barrier dividing the arts from the science sby a series of plays written round scientific subjects for its Molecule Club for young people .The Belgrade Theatre, Coventry, is now in its third year with the Theatre in Education schem ewhich has been fully backed from the start by the city's education authority . The PalaceTheatre, Watford, another enterprising civic theatre, continues to run a 'splinter group' tovisit schools under the direction of an actor/teacher . The Victoria Theatre, Stoke-on-Trent,is also a theatre which has had an encouraging influence on young people in its area .

While selecting a few theatres which have made a particularly strong impression with thei rwork for young people, mention must be made of the two major national companies-th eNational Theatre and the Royal Shakespeare Company-both of which have won the highes tacclaim from the young and are also fully aware of the need to make special provision fo rthem. The National Theatre, in order to bring its productions within the reach of people o fstudent status unable to afford the normal prices, has launched a scheme called Ne wAudiences with the help of a leading industrialist interested in the arts . The sum of moneyprovided enables the National Theatre to reserve at least nine scheduled evenin gperformances a year at which tickets are sold at very reduced prices . These are allocated on aseason basis to senior students, enabling them to see three different productions within arelatively short time. The National Theatre reports exceptionally acute response from thes eaudiences . For nearly two years the Royal Shakespeare Company has been running it sTheatregoround group which regularly performs in schools, colleges and places without livetheatre. This summer it has also played a three-week season at the Aldwych Theatre fitted int othe main repertoire . Leading members of the company perform with this group throughou tthe year and much of its time is spent playing in the rural areas round Stratford-upon-Avon .

The dividends repaid to theatres through the active encouragement of young people'sinterest are incalculable . The Arts Council is also alert to the fact that in theatres where little o rnothing is being done in this respect there is an increasing lack of vitality which can be sense din everything undertaken . The young have much to give : any theatre which ignores this factturns its back on the very world it presumes to mirror . Happily such examples are rare .Certainly neither the theatres nor the Arts Council itself can afford to relax their efforts whe nconfronted by the likely future demands of young audiences . It would be very sad if th eexpectations of the young were not met and the respect in which many of them hold th edrama not adequately sustained .

25

Report on the needs of the subsidized theatre i nLondo n

In 1964 the Drama Panel embarked, at the Council's request, on a study of the needs fo rdrama in England in the ensuing five years or so . A year later its Policy Committee produce da Report covering the needs of the forty or more theatre companies operating outside London .This Report was adopted by the Panel and its recommendations accepted by the Council .

The next task, the needs of the London theatre, took longer . Two years' study led to a Reportwhich was laid before the Council early in 1967 . It dealt with the great changes in the Londo nsituation in the last eight or ten years : the work of the English Stage Company at the Roya lCourt, the breeding place of new playwrights, new subject matter and new attitudes ; th etransformation of the Royal Shakespeare Companyfrom an enormously popular centre o fpilgrimage in the Shakespeare country to a major enterprise, in artistic terms, based o nLondon as well as Stratford ; the creation at long last and the first highly successful years ofour National Theatre Company, housed for the time being in the Old Vic .

On a smaller scale, but symptomatic of the new order of things, was the Mermaid Theatre a tPuddle Dock, the first new theatre building in London since the war, with its adventurou sprogramme and fresh approach to audiences . Fringe and experimental companies-a lively ,if sometimes ephemeral growth-were also studied and their continued supportrecommended, to be given in as flexible a way as possible, and bearing in mind the hel pmany of them receive from local authorities and other sources. They are thought to be of grea tvalue to the theatre as a whole as well as to localities and to specialized audiences .Consideration was also given to new developments, both of companies and buildings, in th ecentral and outer areas .

The Report points out that London now has a number of 'theatres' in the full sense of the wor das opposed to buildings available to producing managements for hire . These are enterprise ssupported by public money, and they now occupy a powerful and central position in th etheatre as a whole . In the National Theatre and the Royal Shakespeare Company, in particular ,the country has two major enterprises of a type which is new in our theatrical history .

The Report gives considerable attention to these two companies. Both have grown fro mroots in the past. Their histories, finances and methods of organization are studied . Thoughthey are comparable in scale they have different and to some extent complementary functions .Analogies with the Royal Opera House in relation to Sadler's Wells and the National Galler yto the Tate are obvious, but also point the differences. On the one hand, the Nationa lTheatre with its representative and widely drawn repertoire (two-thirds British and one-thirdforeign) has in its first three and a half years more than realized the aims worked out by Shaw ,Granville Barker and other campaigners . There are problems, financial and organizational ,still to be solved, but the vitality and quality of the artistic achievement is undoubted and th eclamourfor seats at the Old Vic is seldom satisfied . The final aim, the new'two-theatre 'building on the South Bank, remains still, alas, at the drawing-board stage.

With the Royal Shakespeare Company, on the other hand, all the work at Stratford and aquarter of it in London is devoted to Shakespeare, the remainder being a programme mainl yof new plays, often controversial and reflecting, as it should, the outlook of a particula rmanagement . Its large resources make possible achievements on the scale, for example, ofthe Wars of the Roses orthe Marat-Sade play. The full range of activities planned, or alreadyin being, will only be possible when the Royal Shakespeare Company moves into the theatr ein the Barbican which the City of London is to provide-a large and essentially populartheatr ewith a big proportion of seats at cheap prices . Financially and administratively, this Compan ybenefits greatly from the buildings, facilities, long experience and solid public support of it sStratford end . Its subsidy need is, therefore, less but still substantial . Both companies havealready achieved great international reputations and foreign tours have been outstandingl ysuccessful .

zs

The London theatre, as a whole, still leads and largely dominates the theatre of this country .The growing strength of the provincial centres is doing something to redress the balance .Nevertheless, the London theatres rely on, and serve, a provincial public for a surprisingl ylarge part of their audiences, apart from their provincial touring . The theatrical profession ha sLondon as its base, and national coverage is given to its activities by press, television an dradio . These facts seem to justify a little more than one-third of the total drama grant going tosupport the theatre in London .

The relation, a changing one, between the supported theatres in London and the commercia ltheatre of the West End is a topic touched on in the Report . This question and that o fprovincial touring need fuller consideration . The Arts Council has now agreed upon th ematters which require further investigation, whether included in previous reports or not, an dhas referred them to a committee under Sir William Emrys Williams's chairmanshi p(see p .15, above) . In the meantime, the Drama Panel's Report, like its predecessor, ha sprovided the opportunity for an assessment, if only provisional, of the results of subsidy i nthe London theatre in the last decade . The Report and its findings suggest that Arts Counci lmoney has not been ill spent . It has made possible a type of theatre to which a number o fexceptional individuals have responded-the late George Devine, Sir Laurence Olivier ,Peter Hall, Bernard Miles, to name onlythe outstanding and representative figures . The publichave responded in their turn . The Arts Council has adopted the Report as an interim an dtransitional statement of policy, pending the outcome of the subsequent wider enquiry .

28

Changes in the musical scen e

Coincidentally with new emphases resulting from the Council's improved financial position ,or in some cases in consequence of them, the kaleidoscope of the country's musical life ha shad some significant shifts . In opera and ballet, however, it seemed that we needed carefu lconsideration of what we already had, before making such decisions as are possible in thes eproblem-sown fields about the developments to aim at . The Council therefore called togethe ra committee

'to consider the existing and to estimate the potential publi cdemand for opera and ballet indifferent parts of GreatBritain ; and to consider how far, under existing policies ,these demands are being or are likely to be met; and to mak eproposals regarding future policy, indicating the scale o ffinancial support, both in respect of capital and recurringexpenditure, which might be required to give them effect . '

The twenty-two members, who included representatives of audiences as well as persons wit himportant experience in the provision of these complicated art forms, started to meet in Ma y1966, under the joint chairmanship of Lord Goodman and Lord Harewood, and received awealth of written evidence, supplemented in many cases by oral evidence given to th eCommittee as a whole, orto its opera or ballet sub-committees . An additional group o fpersons studied the special Scottish opera and ballet problems.

In the meantime one important change had taken place in the ballet world . The well-wishersof both parties, who had thought that a marriage between London's Festival Ballet and Balle tRambert would be mutually beneficial, had to admit their match-making proposals wer eunacceptable . The Ballet Rambert thereupon embarked on a renewed life, as a smalle rcompany, with aims more in line with those of its pioneering days at the Mercury Theatre tha nthe continuous larger-scale touring of recent years had permitted . The opening of the Adelin eGen6e Theatre at East Grinstead was another significant event in the ballet life of this country .

It is unnecessary to refer to the achievements of the Royal Opera House, Covent Garden, andSadler's Wells Opera, which produce their own annual reports . In the field of 'Opera for All' ,however, it should be recorded that Philip Cannon's one act opera The Man from Venus, to alibretto byJacqueline Laidlaw, commissioned bythe Council, was performed in a double-bil lon twenty-one occasions .

In the orchestral world the implementation of some of the recommendations of the'Goodma nReport' has had consequences beyond the immediate London concert scene, as had bee nexpected . The London Orchestral Concert Board has given, from funds provided by the Art sCouncil and Greater London Council, guarantees for concerts by the four symphon yorchestras in the Greater London area, and grants of £30,000 each (instead of the £40,00 0recommended bythe Report) towards administrative costs, payments to players for holidays ,sickness benefits, and pensions . This has led to the provision of two weeks' paid holiday fo rthe players, and detailed, though so far inconclusive, discussion of pension schemes . Thegreater stability thus ensured has, however, resulted in some difficulties overthe provision o fconcerts in the Eastern Authorities Orchestral Association area and in South-East England .

The regional symphony orchestral managements had expected that the betterment o fconditions for their London colleagues would make even stronger the metropolitan lur ewhich leads so many of their good players to try their luck in London . Negotiations weretherefore undertaken to secure an increase in minimum salary for the regional orchestras 'standard contract ; an interim increase from £20 to £25 per week was agreed, but delays ove rthe provision of the necessary additional funds held back the actual payment of it, and it waseventually caught by'the freeze', so that the benefit was not effective for the players unti l1 st October, 1966 .

29

The opening of the Greater London Council's Queen Elizabeth Hall, seating 1,100, has mad eregularly available a suitable building for chamber orchestras, choirs and ensembles ; it wil ltake some time for performers and audiences to learn how to make the best use of it . The ne wPurcell Room, seating 372, is now in some ways in direct competition with the Wigmore Hall ,which seats 500, but it may be found that there is ample demand for both . The Arts Council ,which holds the lease of the Wigmore Hall, and subsidises its operation to some extent, mus texpect to make some changes in policy there ; its new Manager, Mr William Lyne, inherits a nimportant tradition from Mr H . T. C . Brickell, who retired in December 1966 after forty-eigh tyears' fine service to this Hall .

The title Changes, given by Gordon Crosse to his work for choir and orchestra, commissione dfor the National Federation of Music Societies, which received its first performances b yleading choirs in England, Scotland and Wales during the year, seems appropriately timely .He uses in his text inscriptions found on bells, and reflects in his'nocturnal cycle'theseason sof life . Change-ringing is a peculiarly English activity-aural pattern-making from th eavailable group of bells ; the changes that can be rung in our musical life with increasin gmeans should enrich every aspect of it .

30

Poetry in the making

When, four years ago, it was announced that the Arts Council had reached agreement wit hthe Trustees of the British Museum about setting up a manuscript collection (see Art sCouncil Annual Report for 1962/63) there were some people who questioned the financin gand the timing of the scheme . The generosity of the Pilgrim Trust in producing the initia lpurchase fund was not in question; but in view of the intensive collecting that had gone o nfor so many years in North America, particularly on the part of munificently endowe duniversities, this move to stem the manuscripts drain from this country was apt to produce th ecomment, 'Too little and too late' .

It is true that, if one wishes to study the poetry of Robert Graves and Edith Sitwell in its variou sdrafts, one must turn to the libraries of the universities of Buffalo and Texas, that Buffal ohas a rich collection of Dylan Thomas manuscripts, while Harvard has the honour of housin gan important group of manuscripts and typescripts by T. S . Eliot . But scholarship may find i tirksome that the material in American hands, though well cared for from a preservatio nstandpoint, has not always been properly catalogued, and is often not accessible to scholar swhen it is part of university policy that it should be withheld for purposes of intramura lresearch .

In these circumstances, the new collection started jointly by the Arts Council and the Britis hMuseum has done well to obtain not only representative coverage of poets like Walter de l aMare, Edwin Muir, Edmund Blunden, William Plomer, C . Day Lewis, John Betjeman, Ro yFuller, Dylan Thomas and Ted Hughes, but also collections in depth of the rough papers ofEdgell Rickword, W. H. Auden, Vernon Watkins, Keith Douglas, David Gascoyne and Phili pLarkin . In the case of Auden, Gascoyne and Larkin, these consist entirely of notebook scovering a considerable period of these poets' working life, and containing an importan tquantity of unpublished material .

All this, together with other material in the collection, was shown to the public for the firs ttime, when the British Museum mounted an exhibition called Poetryin the Making in th eKing's Library, from April to June 1967 . The publication of an illustrated catalogue bearin gthe same title, by Turret Books, was planned to coincide with the exhibition . This carriedintroductory essays by C . Day Lewis, T . C . Skeat and Philip Larkin, and the catalogue itsel fwas compiled by Jenny Lewis . The number of poets represented in the collection at Apri l1967 was fifty-seven; and of these thirty-five were featured in the exhibition . That publi cinterest was successfully aroused is evident from the fact that over 27,000 people, includin gmany schoolchildren, visited the exhibition during the eight weeks it was open .

A list of the 1966/67 acquisitions, together with the names of the members of the Art sCouncil 's Poetry Manuscripts Committee, is given in Appendix C . It should be added tha tthis collection is housed in the Manuscripts Department of the British Museum, where item sare available on request, subject to the usual conditions imposed by the British Museum .

In the course of time, this collection will grow in importance as it becomes more completelyrepresentative of the poets writing in the twentieth century ; but it would be wrong to think o fit as being the only collection of its kind . It is to be hoped that its example will stimulat euniversity libraries and public libraries to consider how far they can acquire manuscrip tmaterial which may have relevance to their particular objects or be of special interest to thei rlocality. Appreciation of the value of such material ought to be valid at local and regional, a swell as national, levels .

ppp-ppMd

"07

1i I

lv kn : .llfv ~

s

I,

_I,11

33

Scotland

There is an old saying that you can give a dog a bad name and hang him . Perhaps, too, if yo ugive him a good one you can expect great things of him . Anyway, underthe new Roya lCharterthe Scottish Committee of the Arts Council of Great Britain became the Scottish Art sCouncil in February 1967 and thus ended the year under review with a good new name .

The year started well, too, with an allocation of £450,000 and all systems go . The financia lcrisis of July 1966 led to a battening down of the hatches and a lashing of the tiller in cas eworse weather was ahead : but now, at the time of writing, we have an allocation of £630,00 0for 1967/68 and the storm appears to be passing . The precautions taken in the latter part o flast year, however, explain the substantial sum unspent and carried forward into this year i nthe accounts .

The Prices and Incomes Standstill and the Selective Employment Tax brought financial an dadministrative anxieties (the Scottish National Orchestra was deprived for six months of amuch-deserved pay rise for its musicians) but the very high proportion of artistic enterpriseswhich were able to reclaim the tax, as Charities, was an indication of the revolution in th eorganization of the arts which has occurred in the past twenty years .

Housing the arts The shortage of capital placed another hazard before schemes projected underthe Council' s'Housing the Arts' programme in Scotland . Local Authorities seldom move fast and the thre emajor projects in Scotland seem little, if at all, nearer realization than they were a year ago .

The Cultural Centre in Glasgow, which was to include a concert hall, a civic theatre, arepertory theatre, a gallery and restaurant, came under fire from the Royal Fine Ar tCommission for Scotland and then from the Glasgow public . The City Fathers wer ereasonably offended at having so generous a gift horse submitted to a damning dental surve yand a difficult situation was eased only by the decision to buythe King's Theatre from Howar dand Wyndham as a Civic theatre thus edging the Centre back towards the melting pot .

The Scottish National Orchestra, the urgency of whose need for a new permanent home ha snot lessened in twelve months, is to be rehoused in 1968 in the City Hall pendin gdevelopments .

In Edinburgh, the demolition of the Synod Hall buildings has left a gaping hole in the groun dbravely labelled, 'Site of the New Royal Lyceum Theatre', and the opera house and theatr ewhich it is intended will be built there await an indication from the Government ofsubstantial help with the finance .

Perhaps the greatest disappointment of the year, however, was the decision of DundeeCorporation at the eleventh hour not to proceed with the plan to convert the Caird Hall, a nadmitted white elephant with 3,500 seats, into two buildings which would house both th egallant Repertory Theatre and, in a concert hall cum opera theatre, such notable visitors a sthe Scottish National Orchestra, Scottish Opera and the National Theatre . The Arts Counci lhad been prepared to offer up to £300,000 towards the total costs, in the region of £750,000 .It is to be hoped that Dundee will think again .

During the year, on the recommendation of the Scottish Arts Council, the Capital Grant sCommittee offered financial support to Dumbarton, for a little theatre as part of an arts an dcommunity centre, to Motherwell, for a theatre and concert hall as part of a new Civic Centre ,and to Glenrothes, for a proposed little theatre . Grants for 1967/68 were offered to Lerwick ,for improvements to the Garrison Theatre and to St Andrews for a new building forthe Byr eTheatre .

34

It is perhaps worth noting that the Scottish Arts Council's interest in these projects is no tlimited to the question of capital expenditure . Most of the professional ensembles which wil lperform in the buildings will be in receipt of revenue grants or other subsidies from th eCouncil . In the case of concert halls and theatres for opera it is vital to the health of th eScottish National Orchestra and of Scottish Opera (bodies now receiving grants in the regio nof £100,000 and £75,000 respectively) that they should have adequate places in which toperform . The national interest is as great as that of the various municipalities .

Local authorities

A Conference on Loca/AuthoritiesandtheArtswas organized by the Scottish Educatio nand the arts

Department in May 1966, at Peebles . While a number of brickbats and a few bouquets werethrown at the Arts Council, some of them deserved, and the Chairman had to remin ddelegates that the aim of the Conference was not to advise them how to squeeze money fro msomeone else, but to help local authorities to spend some of the resources available to them ,it was agreed that the Conference had been useful and had contributed to further co-operatio nin the future . A Report of the Conference was published by the Scottish Educatio nDepartment .

Education and the arts

A number of efforts were made during the yearto improve liaison and co-operation betwee nthe Scottish Arts Council and those involved in education . The Director addressed th econferences of the Directors of Education of Scotland and of the Scottish Headmasters 'Association and had talks with a special arts committee set up by the Educational I nstitute o fScotland .

Literature

The assumption of a responsibility for literature as well as the other arts led the Scottish Art sCouncil first to convert its Play Panel into a Literature and Play Panel and latterly to form aLiterature Committee on the same basis as its Music, Drama and Visual Arts Committees .(These Committees in Scotland consist only of members of the Scottish Arts Council .Advisory Panels, drawn from without the Council, also exist in some fields to help the Counci lin certain aspects of its work . )

The most cursory glance at the field of literature in Scotland reveals that there is much amis sand there should therefore be much that the Scottish Arts Council can do . Many importan tworks of Scottish literature are unobtainable, or virtually so . As Scottish publishers have beenbought up by English publishers who have been bought up by American publishers, it ha sbecome progressively more difficult to have published a book of Scottish interest beyon dtourism. There is a great shortage of good critical writing, both academic and journalistic, i nScotland . There is no critical literary magazine . These and other weighty matters haveoccupied the Scottish Arts Council duri ng the year but their solution will neither be easy no rrapid .

The two volumes of Scottish Poetry published by the Edinburgh University Press under th eCouncil's sponsorship were well received and grants were offered to Lines Review ,Poor . Old . Tired . Horse, and Gairm. Bursaries were given to Norman MacCaig, Ian Hamilto nFinlay and lain Crichton Smith .

To signal the Scottish Arts Council's interest in literature and in the hope of stimulating mor epublic awareness, a prize of £1,000 was offered for a work of prose fiction by a Scottis hwriter of forty-five years of age or under . The judges, Professor David Daiches, Edwi nMorgan, Neil Paterson and Douglas Young, awarded the prize to Alan Sharp for his novel AGreen Tree in Gedde .

35

Drama

The theatre in Scotland mourned the deaths of Duncan Macrae, its leading actor, and o fMarjorie Dence who for more than thirty years had been the proprietor and (with Davi dSteuart, who happily remains as Associate Artistic Director) mainstay of the Perth RepertoryTheatre . Under the terms of Miss Dence's will the Scottish Arts Council was given an optio nto purchase the theatre .

While the Council took the view that a wider use of the theatre in relation to its communit ymight be achieved if it were municipally owned, and discussions have taken place with aspecial subcommittee of Perth Town Council, there are many legal processes to be gon ethrough before any question of purchase can be decided . In the meantime the Scottis hArts Council has agreed to support the existing Committee of Management in their runnin gof the theatre for a further year .

Mr lain Cuthbertson has been appointed Theatre Director and has produced an imaginativ eand adventurous scheme by which the theatre can be continued and developed in such a wa yas to be a source of entertainment and recreation not only for the people of Perth but for th ewhole country. This bold experiment in the arts at Perth will be watched with the greates tinterest during the coming year .

There were changes in Edinburgh where Mr Tom Fleming resigned, his inaugural period atthe Royal Lyceum Theatre ending with a colourful production of The Burdies during theFestival and a performance before Her Majesty The Queen and The Duke of Edinburgh of Th eLife of Galileo by Brecht . Mr Clive Perry, who succeeded Mr Fleming, has been abl estructurally to reduce the size of the theatre, making it agreeably intimate, and has begu nsteadily to buildup an interested following in plays of welcome diversity and of a hig hstandard of performance .

The Citizens' Theatre in Glasgow continues to run its two theatres under its two directors ,Michael Meacham and Michael Blakemore, achieving productions of the highest quality an dinterest. At the larger theatre Who'sAfraid of Virginia Woolf, Brecht's Visions of Simon eMachard and Lowell's Phaedra were in their own ways theatrical events of some magnitude ,and at the Close Theatre, Olwen Wymark's Triple Bill brought invitations to the comingEdinburgh Festival, to Poland and to tour in Europe forthe British Council .

With the Close Theatre in Glasgow and the Traverse in Edinburgh, Scotland is exceptionall yrich in mini-drama . Undera new Committee and after an Annual General Meeting whic hmust rate as one of the most dramatic, and occasionally farcical, happenings in Scottis htheatrical history, the Traverse settled down to a year of consolidation, notching up at leas ttwo notable premieres, David Storey's The Restoration of Arnold Middleton and D. H .Lawrence's The Daughter-in-Law . At the last moment the troubles in the Middle Eaststopped the theatre's first overseas trip, to play Mourning Becomes Electra at Baalbek .

Pitlochry had a good season graced by the return to Scotland of Sophie Stewart . Dundeeheld on in its converted church, hoping for betterthings, and the Byre in St Andrews began t oplan for a new home. There was drama from outside, too ; the National Theatre brought TheRoyal Hunt of the Sun and MuchAdo to Glasgow and Aberdeen, and the Edinburgh Festiva lbrought the Piraikon Company from Athens with the remarkable Mme Vergi, and Po pTheatre with the no less remarkable Miss Cleo Laine and Mr Jim Dale .

One element was missing from an otherwise salubrious scene . The indigenous dram aentered, very late on cue, only with Mr Stewart Conn's l Didn'tAlways Live Here in Apri l1967. The Scottish Arts Council has long offered encouragement to theatres and writer scontemplating new plays . In reviewing its schemes for the promotion of new drama i nSpring 1967 the Council has now taken the view that theatres in receipt of very larg esubsidies should be able to incorporate an adequacy of new plays in their normal repertoir ewithout further subvention . It does, however, still hold a brief for the local writer and the rules

36

have been rewritten to confine the schemes to authors resident in Scotland or of Scottis horigin . On these terms it has been possibleto increase the financial inducements offered . On ecannot buy a writer back from the Venusberg of television scriptwriting but one can to som eextent reduce the at present ludicrous anomaly whereby television pays at least twice as muc hfor at most half as much work as does the living theatre .

Art

I n last year's Report it was mentioned that the Scottish Arts Cou ncil's Gallery at 11 Rothesa yTerrace had had to be absorbed for office purposes . The lack of a gallery hampered th eCouncil's exhibition activities throughout the year under review . Through the kin dco-operation of the Lady Artists' Club in Glasgow, however, the Scottish Arts Council ha snow been able to acquire a lease of the Club's fine gallery in Blythswood Square and it ishoped to open it for Arts Council exhibitions in August 1967 . It is also hoped that the Counci lwill have a new gallery in Edinburgh before too long, thus allowing exhibitions to be show nin the two main cities month about as well as, in many cases, throughoutthe country .

The retrospective exhibition of paintings by Henry Lintott sadly became a Memoria lExhibition when the painter died . The Edinburgh Festival exhibition of works by Alan Davi eand William Gear was less well attended than might have been expected but, right at the endof the year, the Welsh Arts Council's Structure '66 exhibition, arranged among the foliage i nthe magnificent Kibble Palace glasshouse in the Botanic Gardens in Glasgow, attracted wel lover 20,000 people, including those who came to the two evening openings with floo dlighting and cool jazz .

Two exhibitions marked successful exercises in co-operation with other bodies, the mos tfruitful source of advance in the arts as elsewhere . The Educational Institute of Scotland an dthe Council mounted an exhibition of Pictures for Scottish Schools and many educationauthorities brought their chequebooks . Scotland has been late in developing this excellen tenterprise-although some education authorities have been buying pictures for many years-but the initial exhibition gave hope that it might become a regular event and progressivel yinvolve every authority in the country .

On the suggestion of the Scottish Design Centre a substantial number of pictures from th eScottish Arts Council's collection were incorporated in a large touring exhibition o findustrial design, Trend 67. The pictures were shown both in the context of furnished room sand individually on screens . Attendances, particularly of young people, have been very larg eand considerably higher than one would expect for a normal art exhibition .

The Scottish Arts Council has continued to tour smaller exhibitions up and down the countryand is trying step by step to help to improve the galleries in which they are shown . A completelist of exhibitions during the year is given on page 55 .

The Public Sculpture Scheme, launched last year, continued to provoke considerable interes tbut, as with public buildings, the path between the conception and the execution ofte nproved a stony one. However, the first fruit of the scheme, a gay waterfountain in the Tow nCentre at Glenrothes, should be glittering in the autumn sun before these words are printed .Three maquettes were obtained for a piece of sculpture on the seafront in Prestonpans an dthe final commission has now been placed with Mr Leslie Chorley .

To increase interest in, and publicity for, the Scheme, the Scottish Arts Council ran aconference during the Dunfermline Festival associated with the fine Open-Air exhibition o fInternational Sculpture in the Pittencrieff Park, and later arranged, through another fruitfu lliaison, this time with the National Trust for Scotland, that four groups of sculptures from th eexhibition should be shown through the summer at four of the Trust's properties, Crathes ,and Culzean Castles, Falkland Palace and Inverewe Garden .

37

As the scheme seems to be working well it has been decided to start a similar scheme fo rmural decorations . Two grants have already been made .

The Scottish Arts Council co-operated with Edinburgh Corporation and the Films of Scotlan dCommittee to sponsor a film on the New Town of Edinburgh to coincide with the bicentenaryof Craig's original plan forthe New Town .

Music

These are stirring times among the big battalions of music in Scotland . That Alexande rGibson should be made a CBE gave great pleasure everywhere and seemed fitly to mark ayear in which the Scottish National Orchestra again opened the Edinburgh Festival, repeate dits much-praised performance of Mahler's Eighth Symphony, made its first visit to the Londo nProms, performed Robin Orr's Symphony and Mahler's Das Lied von derErde, with Jane tBaker, at the Festival Hall, and supported Scottish Opera in its most ambitious season wit htwenty-nine performances in four cities .

The orchestra gave the British premi6re of Henze's Third Symphony during its main season a swell as the Scottish premi6re of Richard Rodney Bennett's Symphony, and Sir Michae lTippett conducted in a number of concerts including several for schools . Aberdeen had itsfirst performance of the Britten War Requiem and Glasgow its hundredth of Messiah fromthe Glasgow Choral Union . The successful recording of two Sibelius Symphonies th eprevious year was followed up with one of Sibelius Tone Poems this year .

Scottish Opera's 1966 season, Fa/staff, Die Walkiire, Faust and Albert Herring, has sincepaled by comparison with the 1967 season just completed, when attendances were in th e90 per cent-and-over range and the critic of the Financial Times described Cosifan Tutte a sthe best Mozart opera production he had ever seen . The other operas were Das Rheingold,Otello, La Boh6me and Albert Herring and all were widely praised .

Scottish Opera also took over the administration and artistic direction of one of the Art sCouncil's Opera forAll groups and had a successful launching in the old theatre in Dumfrie sin which Burns sat, although it is now much changed . More Opera for All performances tha never before were given in twenty-five places ranging from Lerwick to Campbeltown (the firs tvisit and an audience of 641) .

The Report of the Opera/Ballet Enquiry is still awaited but a special committee set up t oassist the Enquiry in studying the situation in Scotland gave consideration to the possibilit yof setting up a fully professional ballet company of the highest standard in Scotland . Thequestion has not yet been discussed by the Scottish Arts Council but if Scottish Opera is t ocontinue to expand and if there is ever to be a Scottish Ballet there is going to be a greate rdemand on orchestral time than the present Scottish National Orchestra can meet .

The expansion of the orchestra to a nominal ninety-six players has to some extent alleviate dthe situation in that it can divide from time to time into two for particular purposes, but th eavailability of an orchestra for symphony concerts, chamber concerts, opera and ballet i slikely to be one of the major problems in the arts in Scotland over the next five years .

The Glasgow Cathedral Choral Society gave the Scottish premi6re of the work commissione dbythe National Federation of Music Societies from Gordon Crosse, Changes . The Join tAllocation Committee committed nearly £4,000 towards the professional costs of about on ehundred concerts given by thirty-eight aff iliated societies . With the aim of rationalizing therelationship between the Scottish Arts Council and the NFMS in Scotland it has been agree dthat Music Clubs promoting for the most part fully professional concerts of Chamber Musi cshall in future come directto the Council for grant aid, and all essentially amateur societie spresenting choral or orchestral concerts shall receive such aid only through the Federation .

38

The Scottish Arts Council's own directly provided activities continued to bring performance sof the highest standard to every part of the country . New Arts Guilds, including those a tCallander, Dollar, Hamilton, Crieff, Bo'ness and Glenrothes, began with considerabl esuccess and the total number of performances went up from 258 to 286 . The ScottishNational Orchestra divided itself and dispersed its activities to the tune of fifteen concerts ,attended by 4,500 people . Susana and Jose had a widespread tour which could only becalled triumphal with audiences of 404 in Dornoch, 635 in Dingwall, 659 in Elgin and 1,076 ,fortwo performances, in Forfar . The Hogarth Puppets had a record average audience of 40 9(mostly children) and the drama tours, The Lady's Not For Burning, The Schoo/for Wives andThere Was a Man, were all well received .

The directly provided activities occur mainly in rural areas, but there are in the cities ne whousing areas as large as a fair-sized market town and during the year the Scottish ArtsCouncil initiated a scheme to offer concerts in Community Centres in such areas . Three seriesof concerts in the Pilton, Pentland and Leith areas of Edinburgh were given as an experiment ,the principle being to make no artistic concessions but to present a programme of varied butshort pieces with a longish interval for coffee and biscuits during which the performers wer eencouraged to join the audience . At the first concert in Pilton, Ravel's Chansons Madecasses,sung by Eilidh McNab of the London Concert Group, perhaps made the strongest impression .The experiment will be extended this year and the intention is to offer, as a bonus to the loca lconcerts, a ticket for a major concert, probably by the Scottish National Orchestra, at the endof the season .

Festivals

The Edinburgh Festival remains Scotland's greatest jamboree of the arts each year, and i n1967 will celebrate its coming of age . The 1966 Festival featured works by Schumann an dBerg, including the latter's operas Wozzeck and Lulu. The increasing part played in the Festiva lby the Scottish National Orchestra, the Scottish Festival Chorus and, in 1967 forthe firs ttime, by Scottish Opera, as well as the frequent appearance of Scottish companies on th edrama side, is surely a sign of liveliness in the arts in Scotland . No one has suggested that th einclusion of these bodies has in any way lowered the Festival's high international standard .At Ledlanet, Mr John Calder's little Festival offered PierrotLunaire and a splendidly aptproduction by Ande Andersen of The Turn of the Screw. The Festivals in Stirling, Montros eand Aberdeen were joined by an anniversary one in Cumnock .

Scotland has often looked backwards at lost battles and Calvinist victories and through themto a dimly remembered golden age of makars and musicians and dancings in the streets .The present Report perhaps suggests that this is no longer necessary . A living dog, with agood name, is better than a dead lion .

Appointments and

MrT. Grainger-Stewart, who had been associated with the Scottish Committee of the Art sretirements

Council since 1949, first as Assessor for the Secretary of State for Scotland and the nCommittee member and Acting Chairman, retired in December 1966 as did Mr Georg eGeddes . Mr Neil Paterson and Mr John Boyle were appointed to succeed them .

Staff

Mr John Milligan, Art Assistant, and MrAlasdair Skinner, Literature and Drama Assistant ,joined the staff during the year.

4 1

Wales

Introduction

The change of title introduced in the new Charter reflects more accurately than the old th emeasure of autonomy which Wales has always enjoyed . Little else is changed and this, i nturn, reflects the breadth of opportunity which has always been available . The increased grantincreases the possibilities of the arts in Wales .

The role of the Welsh Arts Council is obviously determined by the artistic situation in Wale sand, although this has improved in the last few years, many weaknesses remain . There is stil lan uneven tradition, a shortage of accommodation appropriate to the various arts, and a lac kof reasonably sized professional performing companies and organizations .

For too long the dominance of the amateur tradition and standards has deprived Wales of thefull benefits of its own talent . To be a professional meant having to go away for training and a

career . Although the situation has improved, especially in the visual arts, the improvemen thas been insufficient to transform the scene . Wales needs an opera company on a permanen tfooting, a symphony orchestra, a national theatre, and at least one art gallery capable o fholding large national and international exhibitions .

A national theatre plan, part of which will be concerned with a travelling theatre of hig hquality production and physical environment, is necessary . An opera company offering notonly grand opera, but also chamber and miniature opera, is also required . A full-tim eprofessional chorus from the opera company employed in a programme of concerts, over an dabove the formal role, would indirectly influence the standards of Welsh amateur chora l

singing . A full-time Welsh symphony orchestra would be employed in conventional concerts

and in opera . The education services would also benefit by the availability of the orchestra an d

its individual members . A large national gallery would introduce into Wales the examples o fnew developments in the visual arts as well as international exhibitions of the kind and scal eshown in the Tate Gallery and at Edinburgh

It is doubtful whether Welsh resources will prove sufficient to maintain such a wide range ofartistic activities and large professional organizations without careful rationalization . Thepresent system, which provides entirely separate administration and sphere of activityt oeducation and broadcasting for example, is not helpful to the needs of a comprehensiv e

policy and high standards . It is essential that there shall be a broad national policy for the art swhich will take account of the ambitions and resources of all organizations relevant to th earts .

In the present situation it is essential that the Welsh Arts Council act as the catalyst . It mustseek to bring together all the relative authorities and organizations to ensure that all availabl eresources are exploited to their maximum potential, without unnecessary duplication . TheCouncil must continue to encourage the many streams of creative effort which already exist,individual, regional and national . It must extend the range of activities so that new art formsare included . There must be a willingness to accept art forms which exploit new technologica l

resources. New means must be found to disseminate the arts, to remove preciousness an dmake the arts intelligible and necessaryto the majority.

The successful launching of the North Wales Association for the Arts this year, and th eprospect of similar associations in East and West Wales, will do much to encourage the arts i nthe region and introduce local government initiative and commitments in the arts . Suchregional associations would help to bring about a marked enhancement of the whol eenvironment for living . People would be presented with a wider range and rising scale o fopportunities to enjoy the arts . Only in such a climate will the larger art organization s

flourish .

42

Art

The members of the Art Committee are :

Alex J . GordonColonel W . R . CrawshayProfessor J . R . Webste rR . L. CharlesMaurice CookeProfessorA . L . Cochran eLady Lucy Dynevo rArthur Giardell iTom HudsonAlan Lipma nGordon RedfernMiss Jasia Reichard tJohn WrightColin Jone s

General

Conventional exhibitions of paintings and sculptures tucked away in diff icult-to-find ,adapted rooms are an inadequate reward for the efforts of the artists and the exhibitio norganizers . In Wales, a travelling exhibition can rarely retain an organic wholeness as i tmoves from a civic art gallery to a converted chapel or the corridors of some library . Th econtinuous conflict of painting and exhibition environment dilutes the significance of th ework of art . Nor can it be anticipated with certaintythat pictures will be loaned toexhibitions because of these conditions, so that too frequently preparatory research an dinquiry go unrewarded and exhibitions fail to match the ambitions for it .

Didactic exhibitions

In the circumstances and within a society without a visual tradition and inexperienced in th evisual arts, one obvious need is for exhibitions of a'didactic' nature, explanatory exhibition sintroducing works of art or themes by way of text and illustration . More of an educativeexercise than a conventional exhibition,'Background 1', presented in 1965/66, showed ho wnecessary this kind of exhibition is and it proved sufficiently successful to be followed by avariation of the original exhibition using reproductions and prints which show the influence o fenvironment on the works of the four contemporary painters concerned : Merlyn Evans, Ivo nHitchens, Victor Pasmore and Alan Davie . Another exhibition of this kind is being prepared .

Structure'66

' One of the most fruitful developments in modern art has been the blurring of hard and fas tdistinction between painting and sculpture . The incorporation of objects into painting has le dto a new awareness of texture and shows fresh possibilities in the wall-hanging relief .Sculptors have been intensely concerned with matters such as space that had hitherto bee nthe preserve of the painter . . .' (Alan Bowness) .

This fact has not been recognized in open competitions in Britain, and so the Art Committe eof the Welsh Arts Council decided during the year to hold a major competitive exhibitio nwhich incorporated these significant developments. One of the terms of reference for th eexhibition was the exclusion of 'work in which space or mass is secondary or illusor y ' , i .e .exhibits had to employ actual spatial factors and, to overcome the obvious problem o fdescription, it was agreed that exhibits should be called 'structures' rather than sculptures .'The old "no-man's land" between painting and sculpture has been thoroughly populate dwith a range of structures varying from light to mass, and space to solid, all with chromati cvariants of ideologies . In Britain particularly, three-dimensional work has demonstrate dgreat vitality, in fact it is probably in this area that Britain makes its first profoun dcontribution for a long time to art of the world . . .' (Tom Hudson) .

Three selectors were chosen : Nigel Gosling, Douglas Hall and Alan Davie . The greatestdiff iculty was anticipated in receiving and storing vast numbers of entries but this was over -come by limiting initial submissions to photographs and colour transparencies with written

43

information concerning the dimensions, materials and the transportability of the structures .Some 600 photograph entries were received, 101 were selected for actual submission and ,of these, eighty-one were chosen for exhibition in the National Museum of Wales an dthe grounds of Cardiff Castle . The exhibition was opened on 15th June, 1966, by Mis sJennie Lee . The first purchase prize, £1,000, was awarded to Roland Pich6 for his paintin gDeposition . The second purchase prize went to Bruce Taylor for his King and Queen . Eightsubsidiary prizes were also awarded . A touring exhibition of thirty works was arranged andthis has been shown in London, Glasgow, and elsewhere .

Poster art

The absence of suitable art galleries and an abundance of advertising sites is a feature o fWales . To encourage the showing of art, despite the handicap of insufficient an dinadequate galleries, is essential if the recent impetus in the visual arts is to be maintained .Adapting the truly public art gallery of the advertising holdings is one way and a scheme ha sbeen initiated which does just this . Commissions have been offered for printed designs whic hwill be shown on about 300 sites in towns and villages . These designs will be in two size s(approximately 20 ft by 10 ft and 6 ft 8 in by 10 ft) and will be changed regularly .The venture has attracted attention in the press at home and abroad .

Music

The members of the Music Committee are :

lorwerth Howell sProfessor W. J . G . BeynonKenneth LovelandChristopher Cor yD. W. DaviesDrAlun HoddinottHaydn Thoma sFroom Tyle rWilliam MathiasGraham Thomas

Opera

The Welsh National Opera Company is now in its twentieth year and has a repertoire of thirtyoperas . Somehow it manages to provide excellent performances even though it has itsrehearsal rooms in one building, its wardrobe in another, its workshops in yet another, and it sscenery store more than five miles away from the other buildings, all of which ar einappropriate to their present uses . But with help from the Housing the Arts Fund an dmonies from local government, the Company has recently acquired a four-storeye dwarehouse which it is adapting at a cost of approximately £120,000 to serve as headquarters .This should meet almost all foreseeable requirements .

The Company's ambition is to increase the number of performances it gives . At present it isbusily engaged in equipping itself with a satisfactory backstage establishment as a necessar yprelude. I n the past, it has benefited immensely by having an amateur chorus of exceptiona lquality and fidelity. Without them, the Welsh National Opera Company could not hav eattained the privileged position it has in the opera scene . Any increase of performances,however, will make an impossible demand on the present chorus and it is now the polic yof the Companyto engage a professional chorus which will undertake a large part of th ework .

The present chorus, however, will be retained and used as effectively as before . With bette rrehearsal and workshop accommodation, a comprehensive production staff and a professional

44

chorus, it will become possible for the Company to increase its performances three-fol dduring the next few years .

One of the highlights of the year was a production of Grace Williams' new opera The Par/ourwhich was shown during the two Cardiff and Llandudno seasons .

Orchestral concerts

During the year tours were arranged for the Prague and English Chamber Orchestras, th eMunich Philharmonic Orchestra, Halle Orchestra, Royal Liverpool Philharmonic Orchestra ,New Philharmonia Orchestra, Philharmonia Hungarica, and the Northern Sinfonia Orchestra .There are now fifteen centres where either chamber or full symphony concerts are provided .

Eight international recitals were arranged bythe Welsh Arts Council, with the supporto fCardiff City Council, atthe Reardon Smith Lecture Theatre in the National Museum of Wales .Among the artists who appeared in the series were Nathan Milstein, Vladimir Ashkenazy ,Peter Pears and Benjamin Britten . There were also recitals bythe Borodin String Quartet an dthe Berlin Philharmonic Octet .

Young Welsh

Often young singers find it difficult to obtain concert engagements at the beginning of thei rsingers' competition

professional careers. The feature of this competition is that, in addition to a prize of £75, th eWelsh Arts Council will offerthe winner at least ten concert engagements in Wales . Thesemay include concerts with member choirs of the National Federation of Music Societies ,with music clubs, and with visiting orchestras . The name of the runner-up will also be notedfor recommendation to concert-promoting organizations. Preliminary auditions forth eYoung Welsh Singers' Competition were held at the Wigmore Hall in London and at th eReardon Smith Lecture Theatre, Cardiff . The competition was open to singers under thirt yyears of age, born in Wales, living or working in Wales or of Welsh parentage . There wer ethirty-two entrants and the panel of adjudicators chose four to appear in the final .

Day school for

A series of lectures was given by Peter Gellhorn, Director of the B BC Chorus, at a day schoo lconductors of male

attended by conductors of male choirs. One session attended by several young Wels hchoirs

composers was given over to a discussion on contemporary compositions for male choirs .

Bursaries

Howard Rees, a composition student at University College, Cardiff, has been awarded £35 0to study and work for one year with the Paris Chamber Soloists at the American Centre i nParis.

David Gwynne, at present on contract with the Welsh National Opera Company, has bee noffered £450 towards the cost of studying in Stuttgart for six months from October 1967 .He will be working with Frau Erika Muller-Seeger, who will coach him in the art of presentin gWagnerian roles .

Theatre

National Theatre

At long last there is evidence of a general acceptance by local authorities of a plan for aNational Theatre Scheme produced by Sir Ben Bowen Thomas, Lord Aberdare and Professo rGwyn Jones. They recommended a three-part scheme, a national theatre building in Cardiff ,a smaller theatre in Bangor, to be built by the University College of North Wales, which woul dbe the main centre for plays in Welsh, and a mobile theatre capable of visiting about te ncentres throughout Wales .

45

Mobile theatre

Exciting designs for a mobile theatre have been produced by Mr Sean Kenny and were show nat a press conference convened by Miss Jennie Lee . These designs have been developedfurther and a small-scale prototype is now to be built and subjected to rigorous tests . Th ehighly sophisticated concept offers acting facilities and public comfort which compare veryfavourably with those of permanent theatres .

Welsh Theatre

The original suggestion and the preliminary brief for a mobile theatre emanated from th eCompany

Welsh Theatre Company which was created by the Welsh Arts Council in 1962 . The compan ywas made autonomous on 1 st April, 1967, is now appointing a board of trustees whic hwill be responsible for its future policy, and is seeking registration as a charitable trust . Th eEarl of Snowdon has very kindly agreed to be patron of the company .

During the past year the company has produced plays in English and Welsh . The play sshown included Saerpo/eau by Gwilym Parry and Pros Kairon by Huw Lloyd Edwards. Alu nOwen's television play The Rose Affairwas re-written for the stage and played in severa lplaces in Wales and Northern Ireland . The company also produced a programme based o nShakespeare 's Richard //. This was a documentary play about Elizabethan England with aspecially written script by David Lytton and was shown in schools, followed by a discussio nbetween the pupils, actors and producer, about the play and technical problems o fproduction .

Welsh Children's

The companywas invited bythe Consultation Committee on Welsh Children's Theatre t oTheatre

meet the needs of schools in Wales in the field of theatre . The invitation was accepted an dcomprehensive plans are being laid to fulfil this function and relate it to the primary role of th ecompany.

Bursaries

Mr Wilbert Lloyd Roberts was awarded a bursaryto enable him to travel in several Europea ncountries to study the design and role of various national theatres .

Literature

Committee members

The members of the Literature Committee are :Professor T. J . MorganG. G . Evan sAlfred Franci sDr Glyn Tegai HughesMiss D . E. WardCouncillor Tudur Watkin sClifford William sRaymond Garlic kE . D . Jone sProfessor C . J . L . PriceD. J . ThomasGeraint Bowen

A study

Wales has a long literary tradition fostered at various times by private patronage or by th eenthusiasm sometimes of scholars and sometimes of writers . This tradition has graveweaknesses, the most unhappy being the division of literary activities in the Welsh an dEnglish languages . Literary magazines have been founded and then floundered inevitably

46

once the initial impetus of the literary enthusiast was spent . There is a real need to examin ethe whole field of creative writing in Wales and to encourage the publishing of bot hWelsh and English books . An Assistant Director is to be appointed with special responsibilityfor Literature . His immediate concern will be to examine the present situation and advise th eCommittee on the needs of writers, editors and publishers for the improvement and expansio nof literary activities in Wales, in both languages .

Poetry anthology

A poetry anthology, 'Voices of Wales', compiled by Bryn Griffiths, and published by Dent ,received a Welsh Arts Council guarantee against loss . Four literature bursaries were given :two to writers in Welsh, Miss Eigra Lewis Roberts and Mrs Rhiannon Davies Jones, and tw oto writers in English, Mr Dedwydd Jones and Mr Bryn Griff iths . The Council has arrangedto start purchasing Welsh manuscripts which will be housed in the National Library o fWales .

North Wales Association During the summer of 1965 the Welsh Arts Council established the North Wales Art sof the Arts

Advisory Panel and invited Sir Ben Bowen Thomas to be its Chairman and Mr J . 0 . Jone sits Secretary .

The terms of reference given to the Panel were to review the organization and the financin gof the arts in North Wales, to co-ordinate existing Arts Council activities, and to co-operat ewith local authorities and other organizations in establishing the North Wales Associatio nfor the Arts .

During the last eighteen months of the Panel's existence, it has been possible to make ne wcontacts and to develop the work throughout the six North Wales counties . In fact, more tha nforty new centres were approached, and about two hundred new functions were held durin gthis period . The enthusiasm shown on the ground was most encouraging . New ideas were pu tforward and new organizations are now coming into existence . Local Associations for theArts were established at Wrexham, Conway, Bangor, Caernarvon and Pwllheli with a view t oco-ordinating the work on local level . Two new Arts Festivals were initiated, one at Wrexha mand the other at Bangor, bythe respective Associations .

The North Wales Association for the Arts took over the activities of the Panel from 1 st April ,1967. The inaugural meeting was held at Rhyl on the 21 st April, 1967, and was addressed b yBaroness Phillips, who deputized for Miss Jennie Lee, Minister of State . The Association ha scharitable status and its objects are to foster and promote an understanding and appreciatio nof the arts in the six counties of North Wales with particular regard to the distinctiv echaracteristics of the area . Its main object is to co-ordinate, supplement and grant-ai dorganizations recognized as charities promoting programmes independently or in associatio nwith local authorities, cultural societies and education institutions relating to the practice ,presentation and study of the arts in order, inter aiia, to promote better and more widespreadperformances, exhibitions and lectures in music, opera, ballet, drama, literature and the visua land plastic arts .

The membership of the Association shall be drawn from local authorities, university colleges ,colleges of education, adult education colleges, churches, voluntary organizations ,industries and commerce, trade unions and any other such body or person that th eAssociation may from time to time determine .

The Association is financed by contributions from the North Wales county councils ,industry, trade unions, private and voluntary sources and by grants from the Welsh Art sCouncil .

47

Housing the arts

In the year 1966/67 several building and conversion projects received grants . These weretheArts Centre, Prestatyn ; the Welsh National Opera Company for its conversion of an ol dwarehouse for rehearsal, workshop and office accommodation ; the Town Hall, Llangefni ,which is now used as an arts centre ; and the Little Theatre, Wrexham, which is used by th eGrove Park Amateur Dramatic Society .

Appointments and

The following retired from the Council during the year : MrAlun Llywelyn-Williams,resignations Mr S. Kenneth Davies, and MrT. M. Morgan . Mr Alfred Francis, Professor T .J . Morgan, and

Mr Clifford Williams were re-elected . The following were appointed to serve on the Council :Dr Glyn Tegai Hughes, Mr Gareth Thomas and Professor J . R . Webster.

The Director for Wales, Dr J . R . Webster, resigned on the 30th September, 1966, havin gbeen appointed Professor and Head of the Department of Education at the Universit yCollege of North Wales, Bangor . He was the Welsh Committee's chief officer for five mostformative years, and his work forthe Arts in Wales will have lasting and beneficial results .

Mr A. M. Thomas was appointed to succeed Dr Webster on 1 st January, 1967 .

Miss Frances Edwardsjoined the staff as Art Assistant .

r Lr4',!

! 7

it •~i*

~ .

-~

- -C et

f^~

!rY 7~-Y=L`

1~

~

'~~~•

,~l ill IF

rl

S- -

~..a

ti• I

• 4

'.

7. ,~~I' .I

- -r

D~

I

i•

1

~r

4 9

Appendix A

The charter of incorporation granted byHer Majesty the Quee nto the Arts Council of Great Britai nseventh day of February 196 7

Elizabeth the Secondbythe Grace of God of the United Kingdom of Great Britain and Northern Irelan dand of Our other Realms and Territories Queen, Head of the Commonwealth ,Defender of the Faith :

To all to whom these presents shall come, greeting !

Whereas His Majesty King George the Sixth in the year of our Lord One thousand nin ehundred and forty-six by Royal Charter (hereinafter called'the Original Charter ' ) dated th eninth day of August in the tenth year of His Reign constituted a Body Corporate by the nam eof 'The Arts Council of Great Britain' (hereinafter referred to as'the Counci l ' ) with perpetua lsuccession and with power to sue and be sued by the said name and to use a Common Seal :

and whereas the Original Charter was amended by the Secretary of State for Education an dScience Order 1964 and the Transfer of Functions (Cultural Institutions) Order 1965 :

and whereas it has been represented unto Us that it is expedient for the better execution o fthe purposes thereof that the provisions of the Original Charter as so amended should b efurther amended and that this may best be done by the grant of a new Charter replacing th eOriginal Charter :

now therefore know ye that We, by virtue of Our Prerogative Royal and of all other powersenabling Us so to do have of Our especial grace, certain knowledge and mere motio ngranted and declared and do by these Presents for Us, Our Heirs and Successors, grant an ddeclare as follows :

1 The provisions of the Original Charter, except insofar as they incorporate the Arts Council o fGreat Britain and confer upon it perpetual succession, are hereby revoked, but nothing in thi srevocation shall affect the legality or validity of any act, deed or thing lawfully done o rexecuted underthe provisions of the Original Charter .

2 The Council shall have a Common Seal, with power to break, alter and make anew the sai dSeal from time to time at their will and pleasure and by their name shall and may sue and besued in all courts and in all manner of actions and suits, and shall have power to enter int ocontracts, to acquire, hold and dispose of property of any kind, to accept trusts and generall yto do all matters and things incidental or appertaining to a Body Corporate .

3 The objects for which the Council are established and incorporated areas follows :

(a) to develop and improve the knowledge, understanding and practice of the arts ;

(b) to increase the accessibility of the arts to the public throughout Great Britain ; and

(c) to advise and co-operate with Departments of Our Government, local authorities an dother bodies on any matters concerned whether directly or indirectly with the foregoingobjects .

50

4 All moneys and property howsoever received by the Council, including any moneys voted b yParliament, shall be applied solely towards the promotion of the objects of the Council and n oportion thereof (except as otherwise provided in this Our Charter) shall be paid or transferreddirectly or indirectly to the members of the Council .

5 (1) The Council shall consist of a Chairman, a Vice-Chairman and not more than eightee nother members .

(2) The Chairman and the other members shall be appointed by Our Secretary of State afte rconsultation with Our Secretaries of State for Scotland and Wales and the terms of thei rappointment shall be determined by Our Secretary of State .

(3) The Vice-Chairman shall be appointed by the Council, with the approval of Our Secretar yof State, from among the members of the Council and the terms of his appointment as suc hshall be determined by the Council .

(4) Every member shall hold and vacate his office in accordance with the terms of hi sappointment bu t

(a) a member shall not be appointed for a term of more than five years ;

(b) a member otherthan the Chairman and the Vice-Chairman of the Council, of the Scottis hArts Council and of the Welsh Arts Council and the Chairman of a panel shall not be eligibl efor re-appointment on ceasing to be a member until the expiration of one yea r ; and

(c) a member may at any time by notice in writing to Our Secretary of State resign his office .

(5) The Council shall not make to any member of the Council any payment by way o fremuneration for his services as such, but may reimburse to any such member expense sreasonably incurred by him in the performance of his duties .

6 (1) The Council may act notwithstanding a vacancy among the members and the validity o fany proceedings of the Council shall not be affected by any defect in the appointment of amember .

(2) The quorum of the Council shall be seven members personally present or such greate rnumber as the Council may from time to time determine .

7 Subject to the provisions of this Our Charter, the Council may regulate their own procedure .

8 (1) The Council shall, with the approval respectively of Our Secretary of State for Scotlan dand Our Secretary of State for Wales, appoint committees, to be called the Scottish Art sCouncil and the Welsh Arts Council, to exercise, or advise them on the exercise of, thei rfunctions in Scotland and Wales .

(2) Subject to such approval, the Council shall appoint as chairman of each committee amember of the committee who is a member of the Council .

(3) The Council may appoint to either committee persons who are not members of th eCouncil and, subject in the case of the chairman of each committee to such approval asaforesaid, may at any time revoke the appointment of any member of either committee .

5 1

9 (1) The Council may appoint other committees and panels to advise and assist them in th eexercise of such of their functions as maybe determined by the Council .

(2) The Council shall appoint as chairman of any such committee or panel a member of th ecommittee or panel who is a member of the Council .

(3) The Council may appoint to any such committee or panel members who are not member sof the Council and may at any time revoke the appointment of any member of such committe eor panel .

10 (1) The Council may regulate the procedure of any committee or panel appointed by them i npursuance of Articles 8 and 9 of this Our Charter .

(2) Article 5(5) of this Our Charter shall apply to members of such committees and panels a sit applies to members of the Council .

11 Any officer of the Departments of Our Secretaries of State for Education and Science, fo rScotland or for Wales who is appointed bythe relevant Secretary of State to be an assessor t othe Council, or to any committee or panel of the Council, shall be entitled to attend an ymeeting of the Council or as the case may be of any committee or panel to which he is s oappointed .

12 (1) The Council shall, with the approval of Our Secretary of State, appoint a SecretaryGeneral who shall be the principal executive officer of the Council, and may appoint suc hother officers and take into their employment such other persons as the Council ma ydetermine .

(2) The Council ma y

(a) pay to their Secretary General and to their other officers and to other persons employedby them such remuneration as the Council may, with the approval of Our Secretary of Stat eand the Lords Commissioners of Our Treasury, from time to time determine ; and

(b) as regards any officers or other persons employed in whose case it may be determined b ythe Council, with the approval of Our Secretaryof State and the Lords Commissioners of Ou rTreasury, so to do, pay to or in respect of them such pensions (including gratuities), o rprovide and maintain for them such pension schemes (whether contributory or not), as maybe so determined .

13 The Council shall keep proper accounts and other records, and shall prepare for eac hfinancial year statements of account in such form as Our Secretary of State with the approva lof the Lords Commissioners of Our Treasury may direct and submit those statements o faccount to Our Secretary of State at such time as he may direct .

14 The Council shall as soon as possible after the end of each financial year make to Ou rSecretary of State a report on the exercise and performance bythem of their functions durin gthat year .

52

15 The application of the Seal of the Council shall be authenticated by the signatures of th eChairman or of some other member of the Council authorized generally or especially by th eCouncil to act for that purpose, and of one of such officers of the Council as may be s oauthorized by the Council so to act .

16 The Council may by resolution in that behalf passed at a meeting of the Council by a majorit yof not less than three-quarters of the members present and voting (being an absolut emajority of the whole number of the members of the Council) and confirmed at a furthe rmeeting of the Council held not less than one month nor more than four months afterwards b ya like majority, add to or amend this Our Charter, and such addition or amendment, whe nallowed by Us, Our Heirs or Successors in Council, shall become effectual, so that this Ou rCharter shall thenceforward continue and operate as though it had been originally grantedand made accordingly : and this provision shall apply to this Our Charter as added to o ramended in manner aforesaid .

17 In this Our Charter references to Our Secretary of State are to Our Secretary of State fo rEducation and Science .

In Witness whereof We have caused these Our Letters to be made Patent .

Witness Ourself at Westminster the Seventh day of February in the Sixteenth year of Ou rReign .

By warrant under the Queen's Sign Manua l

Signed Coldstream

53

Appendix B

Arts Council exhibitions held in Great Britain durin gthe period April 1966 to March 1967

Outstanding among the exhibitions arranged by the Art Department in 1966-67, was th eselection of Rodin bronzes which was first shown at the Hatton Gallery, University o fNewcastle upon Tyne, in November 1966, for which seven further six-week showing swere planned for the larger regional centres, including Edinburgh and Cardiff . The generou sloan of seventeen bronzes from the Tate Gallery for the period of a year attracted further loan sfrom both public and private collections in this country, and this enabled the Arts Council t oarrange a show providing a very useful conspectus of Rodi n 's work . Such opportunities ar eunfortunately rare; but the response to the Rodin exhibition has shown that it is alwaysrewarding to seek them out and exploit them .

The Arts Council was able to obtain some extremely fine loans for an exhibition, The Thamesin Art (from the seventeenth to the twentieth century), which was shown at two festivals i n1967: Henley-on-Thames and Cheltenham .

The work of young British artists was shown in several touring exhibitions, among them aselection from both the Young Contemporaries' London exhibition and from the Norther nYoung Contemporaries first shown by the Whitworth Art Gallery, Manchester, as well a srecent purchases for the Arts Council's own collection of work by contemporary Britis hartists . The retrospective exhibition of Lowry's work shown in the Tate was an outstandin gsuccess for British painting .

Among the exhibitions of foreign artists arranged by the Arts Council and shown in the Tat eduring 1966, those of Rouault, Marcel Duchamp and Naum Gabo attracted most attentio nfrom the public . Perhaps the most spectacular of Arts Council exhibitions was the PicassoSculpture shown in the Tate during the summer of 1967. There were about 200 sculpture s(the large majority lent by the artist himself) from all periods of his work, with ceramics an ddrawings, in a setting designed by Michael Brawne .

54

Paintings, drawings, sculpture, et c

England

The Arts Council Collection :British Painting Before 194 0British Painting 1940-49British Painting 1950-5 7New Painting 1958-6 1New Painting 1961-6 4Recent purchase sTwentieth Century Drawing sSculptureHenry Moore

Aubrey Beardsley 1872-9 8David Bomberg 1890-195 7A Chinese Painter's Choice: Ling Su-hua Collectio nChromatic SculptureContemporary British Sculpture, 196 6

W Decade 1890-1900Frank Dobson 1886-196 3

S Jean Dubuffet : Drawing sJean Dubuffet : Painting sMarcel Ducham pJames Gillray 1756-181 5Great Britain/USSR (in association with the Victoria and Albert Museum )

W In MotionS

Twenty Italian SculptorsNaum Gabo : SculptureJapanese Design : Architecture and Object sZoltan Kemeny 1907-6 5

W Lee Krasne rL. S . LowryMarine Painting sNorthern Young Contemporaries 196 6

W

Painters in East AngliaRodi n

S

Rouault 1871-195 8The Seligman Collection of Oriental Art

W Six Painters from Swede nDavid Smith 1906-6 5Structure 196 6Unit Series Progressio nVenturesVision and Design : The life, work and influence of Roger Fry, 1866-1934

S Young Contemporaries 1966

Graphic art, stage desig n

The Arts Council Collectio nW

Designs for the Theatr eNew Prints, 2New Prints, 3Original Print s

Thomas Bewick 1753-1820S

Japanese PrintsKokoschka Lithograph s

WS Pop PrintsRuthless Logic and Free Imagination Show

5 5

Reproductions, photograph s

Abstract ArtGeorges Braqu e

W Edgar Dega sW Ecole de Pari s

English ArtS The Functional Traditio n

Modern German Painting, 1900-1960W Modern Gouaches and WatercoloursW Hans Holbein the Younge rW The Human Figure in European Paintin gW Wassily Kandinsk yW Paul KleeW Landscape in Art, Part 1 : Up to Impressionis mW Landscape in Art, Part 2 : After Impressionis mW Joan Mir6W Monet and his ContemporariesW Outline of Modern Art

Pablo Picasso, Part 1 : Early YearsPablo Picasso, Part 2 : Later Year s

W Pablo Picass oPortraits

W

Prehistoric PaintingW Rembrandt and his Contemporarie sW

Still LifeThirty Painters of the Fifteenth CenturyVincent van Gog h

Seventy-six exhibitions were held in 216 separate buildings in 167 different centres (391 showings, includingsixteen held in the Arts Council Gallery, Institute of Contemporary Arts, Tate Gallery and the Victoria an dAlbert Museum) . Included in the above are thirty-two showings held in Wales in twelve separate buildings i neight different centres and seven showings held in three separate buildings in two different centres in Scotland .

Note :W Also exhibited in WalesS

Also exhibited in Scotlan d

Note :In addition to the above list the following exhibitions were shown at the Arts Council Gallery, Cambridge :

John Craxto nIndustrial DevicesNorwich School PicturesSome American Paintings of the 60' s

Scotland

Georges Braque (Reproductions )Sir D . Y . Cameron Centenary Exhibitio nContemporary Scottish Painting from the Scottish Arts Council's Collectio nGraphics IHenry Linton Memorial Exhibitio nOld Master Drawing sPaintings by Alan Davie and William Gea rPicasso PrintsPictures for Scottish Schools (with the Educational Institute for Scotland )

'Anne Redpath Memorial Exhibitio nScottish CraftsVan Gogh (Reproductions )Watercolours and Drawings from the Scottish Arts Council's Collection

66

Twenty exhibitions (including seven from England) were held in forty-six different buildings in forty-on ecentres (fifty-two showings in all) .

'This exhibition was also shown in Bristol .

Wales

Art in Wales (Reproductions )Background I (Original works and photographs )Background I (Reproductions and prints )Margaret Davies Collectio nDrawings and Printsfrom the Welsh CollectionOne Interpretsthe World (Paintings from the Welsh Collection )Ruthless Logic and Free Imagination Sho wSculpture from the Welsh Collectio nMatthew Smit hStructure 196 6Two artists: David Tinker and Robert H unte rTwo artists: Thomas Rathmell and John Wrigh t

Thirty-five exhibitions (including twenty-three from England) were held in forty-six different buildings i nthirty-five centres (eighty-one showings in all) .

5 7

Appendix C

The National Manuscript Collection ofContemporary Poets

The following accessions were made durin gthe year 1966/67

John Betjema nWorksheet of a poem .(boughtfrom Mr Betjeman )

Walter de la Mar eA one-page manuscript draft of two poems .(bought at Sotheby's )

Charles Tomlinso nDrafts and worksheets of twenty poems .(boughtfrom MrTomlinson )

David Gascoyn eTwenty notebooks containing drafts of poems, prose writings and inter-related material, together with a nenvelope containing a number of worksheets .(boughtfrom Bertram Rota Ltd . )

Christopher Logu eA notebook containing a draft for a poem Pop Song.(presented by Mr Logue )

Jon Silki nA typescript draft of a poem with autograph corrections .(presented by Mrs J . Stratford )

The Committee of the Arts Council that advises on these accessions consists of C . Day Lewis (Chairman) ,Douglas Cleverdon, Philip Larkin, Edward Lucie-Smith, T . C . Skeat, Mrs Jenny Stratford, Eric W . Whit e(Literature Director) and Charles Osborne (Assistant Literature Director) .

The Arts Council of Great Britain

Annual account syear ended 31 March 196 7

page

60 Accountant's notes

Table A

62 Analysis of grants-in-aid 1962/63to 1966/6 7

B

63 A graph of gross expenditure 1962/63 to 1966/67

C

64 Awards to artists 1966/67

D

69 Housing the arts, future commitments undertaken in 1966/67

E

70 Accumulated deficiency grants 1966/67

F

77 Analysis of Drama grants and Guarantees 1966/6 7

G

74 Theatre companies : Details of costs, Revenue and Subsidy, 1963/64 to 1965/66

78 The Arts Council of Great Britain Account s

98 The Scottish Arts Council Account s

108 The Welsh Arts Council Accounts

60

Accountant's notes

These notes and tables are given in amplification of the Annual Accounts which follow .

The General Operating Costs, which are shown in detail in Schedule 2, include the costs o fthe Opera and Ballet Enquiry totalling £756 up to 31st March, 1967 .

During 1966/67 the Council acquired a three-year lease of part of 29 Exhibition Road whic his being sub-let to the National Federation of Music Societies, the Royal PhilharmonicSociety and the Society for the Promotion of New Music . General Operating Costs, i nSchedule 2 of the accounts, include expenses of £2,029 in respect of this property .

During 1966/67 an additional investment has been received from the Executors of th eCompton Estate . This is a holding of 400 shares in British-American Tobacco CompanyLimited and can be found in Schedule 6 .

Table A shows an analysis of the Arts Council grant-in-aid in the five years 1962/63 t o1966/67 . The total grant-in-aid for 1967/68 is £7,200,000 . The net expenditure in Table A i sshown, to the nearest £25,000, by deducting income from the most appropriate head o fexpenditure; for example, the net expenditure on Art in 1966/67 is shown as £150,000 whic his the result of deducting £64,896 income received from a gross expenditure of £208,309 .

The figures show an analysis of net expenditure in England together with the total grants tothe Scottish and Welsh Arts Councils.

The subsidyto Covent Garden is forthe Opera Company and two Royal Ballet Companies .

The graph (Table B) shows approximate gross expenditure on the various arts in England ,Scotland and Wales from 1962/63 to 1966/67 . The gross expenditure is noticeably more tha nthe grant-in-aid shown in Table A because the grant-in-aid is supplemented by other income .For example, the Council's gross expenditure in 1966/67 was £95,509 more than th egrant-in-aid of £5,700,000 because of art exhibition admissions and catalogue sales, incom efrom directly promoted opera, ballet and concert activities and other sundry receipts . Th esubsidyto Covent Garden in 1964/65 included £200,000 in respect of capital expenditure o nthe building which results in the unusual peak shown in that year .

A list of the Council's awards to artists in England, Scotland and Wales can be found i nTable C. These are summarized in each Schedule 3 and show the maximum commitments ,not necessarily the amounts paid .

The playwrights' royalty awards shown under Drama in Table C are linked to the New Dramaguarantee scheme and are intended to ensure that playwrights (and/or translators) o fapproved new plays receive a minimum royalty of £100.

The drama training schemes for designers and administrators include grants made to theatr ecompanies as a contribution to the salaries of trainees as well as outright awards to individual sto cover further training periods .

6 1

The purchase awards, totalling £4,600, are shown under Art . Fourteen paintings, fou rdrawings, two sculptures, two assemblages, one etching and one construction have bee nreceived from the recipients of these awards .

7In 1966/67 the Arts Council's grant-in-aid of £5,700,000 included £200,000 for Housingthe Arts . The details of the expenditure of this sum can be found at the end of bot hSchedules 1 where £182,450 is accounted for in England and £17,550 in Scotland .

In addition, the Arts Council was authorized to enter into commitments to make furthe rprovision for Housing the Arts up to a total of £400,000 over and above the cash grants of£200,000. The commitments for this further amount are set out in Table D .

8The Council made a grant of £1,000 to the Italian Art and Archives Rescue Fund which i sincluded under Art in Schedule 3 of the 1966/67 accounts . This payment was made i ngood faith out of the Reserve for Special Art Projects, the view being taken that the physica lrestoration and preservation of works of art in Florence, which are constantly visite dby great numbers of the British public, was reasonably incidental and conducive to th eattainment of the Arts Council's object'to develop and improve the knowledge,understanding and practice of the arts' .

The Council has benefited from loans from Italy for our exhibitions in the past and has, sinc e1964, a project to show in the new South Bank Gallery an exhibition of restored Florentin efrescoes . The grant appeared relevant to another of the Council's objects which is'to increasethe accessibility of the arts to the public throughout Great Britain' .

However, we have since received information from the Department of Education and Scienc ethat, in their opinion, this payment was ultra vires .

62

Grant-in-aid 1962/63 to 1966/6 7

Housing the arts "'.

Literature and other arts expenditureAn

Dram aTable A

Other Music

Other opera and balletCovent Garden

General operating cost sWales

Scotland

r6 .000 .000

E5,000 .000

£4 .000,000

£ 3 .000.000

E2 .000,000

£ 1,000 .000

E750,000

E500,000

f 250,000

63

Gross expenditure 1962163 to 196616 7

other moMEB%d balle t

other arts expenditureTable B

1962/63

1963/64

1964/65

1965 66

1966/67

C1 .600,000

01 .550,000

0,500,000

E1,450,000

C1,400,000

C1,350,000

E1,300,000

E1 .250 .000

E 1, 200,000

(1,150,000

E 1,100,000

Et .050 .000

C 1, 000 .000

£950,000

£900,000

£850,000

0800,000

£750,000

[700,000

E650,000

f 600,000

E550,000

0500,000

E450,000

C400,000

£350,000

E300,000

E250,000

E200,000

El 50,000

E 100 .00 0

£ 50,000

64

Awards to artists 1966/67

Table C

England

Music

Advanced trainin gSimon Allfree Trainee administrator-Hall6 Orchestra 15 0David Atherton Repetiteur-London Opera Centre 19 2Christopher Ball Apprentice Conductor scheme-Vancouver Symphony Orchestra 75 0Michael Laird Clarino study 10 0Christopher Robins Trainee administrator-Royal Liverpool Philharmonic Orchestra 15 0David Seaman Repetiteur-London Opera Centre 59 0Desmond Smith Opera producer 60 0John Stoddart Opera and ballet designer 450Harry Waistnage Opera and ballet designer 50 0

Commissions (including presentation costs )Cornelius Cardew 600Elizabeth Lutyens 750Wilfrid Mellers Yorkshire and District Brass Band Association 50George Newson 20Priaulx Rainier 1,000Christopher Brown Tilford Bach Festival 15 0David Cox Tilford Bach Festival 15 0Brian Kelly Tilford Bach Festival 15 0

Elizabeth Lutyens 1966 Summer School of Music 31 6Thea Musgrave

Composers' bursaries, expenses and costs of presenting new work sDenis Aplvor 200Harrison Birtwistle 10 5Wilfred Josephs 100Malcolm Rayment 30

Other awardsFfrangcon Davies 41Youth and Music 100

Drama

Christopher Denys 200John Floyd 250David Forder 25 0Colin George 35 0John Gunter 25 0Giles Havergal 250Donald Mackechnie 25 0Rupert Rhymes 200Osborne Robinson 250Michael White 200John Wyckham 300

PlaywrightsDavid Cregan 1,000Patricia O'Shea 350David Pinner 500Colin Spencer 250

Playwrights' royaltie sDavid Baxter Will Somebody Please Say Something

Quipu 100Kitty Black (T) The Public Prosecutor (Hochwaelder)

Harrogate Opera House 63John Bowen After the Rain

Perdita Productions 49Pat Connell Smithson's Ark

Repertory Players 11

65

Playwrights' royalties (continued )Giles Cooper HappyFami/y

_Hampstead Theatre Club 24

William Corlett The Scourging of Matthew Barrow Leicester Phoenix Theatre 5 1Jan de Hartog Death of a Rat Derby Playhouse 81Maureen Duffy The Silk Room Watford Civic Theatre 50Bill Dufton From China to Peru Prospect Productions 1 4Ron-aid Eyre

_A Crack in the Ice Repertory Theatr e-Birmingham _ 10 0

Athol Fugard The Blood Knot African Drama Trust 68Bernard Frechtman (T)

_The Balcony (Genet) Meadow Players (Oxford) 10 0

Michael Hastings Lee Harvey Oswald Hampstead Theatre Club 7Stuart Gilman

_The Insiders International Theatre Club 9 1

Carey Harrison Dante Kaputt_

Leicester Phoenix Theatre 1 9Ann Jellicoe The Sport of my Mad Mother Liverpool Everyman Theatre 52Sandro Key-Aberg Ohl London Traverse Theatre 100Robert Lowell Benito Cereno Mermaid Theatre 100John McGrath

- Events while guarding the Bofors Gu_n_ Hampstead Theatre_ Club 4 1Mary Melwood Five Minutes to Morning Unicorn Theatre 60Yvonne Mitchell (T) Beware of the Dog (Arout) Nottingham Playhouse 100Adria_iiNicolaeff (T) The Promise (Arbuzov) Meadow Players (Oxford) 10 0Tony Perrin Get Out in the Green Fields Studio Theatre (Stoke-on-Trent) 75Robert Rietty (T) Rules of the Game (Pirandello) Meadow Players (Oxford) 10 0Robin Rook (T) Never Say Die (Salacrou) International Theatre Club 87Maurice Rowdon Eskimo Trance International Theatre Club 10 0N F. Simpson The Cresta Run Farnham Repertory Theatre_ 55Anthony Shaffer The Savage Parade Crewe Theatre 88WoleSoyinka The Trials of Brother Jero African Drama Trust 6 9Anni Lee Taylor (T) The Wily Widow (Goldoni) Liverpool Everyman Theatre 5 1Cecil P. Taylor Bread and Butter London Traverse Theatre 9Peter Terson- l'm in Charge of These Ruins Studio Theatre (Stoke-on-Trent) 7 4Peter Terson

_Jock-on-the-Go Studio Theatre (Stoke-on-Trent) 1 2

Peter Terson Jock-on-the-Go Liverpool Playhouse 100Petor Terson All Honour Mr Todd Sti di g Theatre (Stoke-on-Trent) 67Simon Voice Reflections in an Axe Malvern Festival Theatre 2 6E. F . W tling (T) A Pot of Go/d (Plautus) an d

Electra (Sophocles) Studio Theatre (Stoke-on-Trent) 25D . Watson (T) Jenusia (Obaldia) International theatre Club 87

-- -

T=Translato r

Designcommission sCanterbury Marlowe Theatre (Kenneth Rowell)

_Coventry Belgrade Theatre

(J . Hutchinson Scott )Nottingham Playhouse

(Carl Toms)

Training schemes

Trainee administrators

150150150

chesterfield Civic Theatre (Barry Shepherd )Colchester Repertory Theatre (John Adler )Lincoln Theatre Royal (J . W. Clarke )Liverpool Repertory Theatre (Stanley Morris )Salisbury Arts Theatre

_(Alan Corkill )

Salisbury Arts Theatre (Robert Scott )

19 8_ 28 6

8828 6286 -44

John Adler 41 0Alan Corkill 41 0Vivien Etridge 46 5Michael Freeman 42 0Peter Harlock 41 0Sydney L .Hibbert 230Bill Johnston 250

66

Trainee administrators (continued )Stanley Morris

41 0Barry Sheppard

350

Trainee designersMaureen Ardren Salisbury Arts Theatre 56Angela Ballard Manchester Library Theatre 44Johanna Bryant Coventry Belgrade Theatre 363David Burrows Ipswich Arts Theatre 247Roger Butlin Sadler's Wells Theatre 143Deirdre Clancy Lincoln Theatre Royal 187Bernard Culshaw London Traverse Theatre 322Agboola Folarin Nottingham Playhouse 31 9Sheila Godbolt Bournemouth Palace Court 252Hans Chr . van Langeveld Colchester Repertory Theatre 363Neil Littlewood Northampton Repertory Theatre 352Richard Mead Bristol Old Vic Theatre 21 4Gordon Melhuish Royal Shakespeare Theatre 341Trevor Pitt Birmingham Repertory Theatre 363Maurice Rubens Nottingham Playhouse 247Sally Thompson Liverpool Playhouse 297Elizabeth Waller Leicester Phoenix Theatre 330Peter Whiteman Bristol Old Vic Theatre 336David Burrows 60Richard Mead 60Maurice Rubens 60

Trainee directorsRichard Eyre 800Anthony Ferrand 850David Herman 800Anthony Hozier 800Trevor Vibert 800

Art

Sabbatical award sRobert Clatworthy 700Garth Evans 700Andrew Forge 700Nicholas Horsfield 700Denis Mitchell 700Yolanda Sonnabend 500William Townsend 700

CommissionsLeicestershire Education Committee 500Hubert Dalwood 400Neville Boden 400Austin Wright 400

Purchase award sElinor Bellingham Smith 500Mark Boyle 250Prunella Clough 500Hubert Dalwood 500Sheila Fell 500Terry Frost 500Derrick Greaves 250Anthony Gross 500Howard Hodgkin 250

67

Purchase awards (continued )-

RobertLaw 300James Tower 250_Ken Turner 300

-

-

----

-

-

-

------ --

-

-Literature

Bursaries -

-

Paul Ableman 800Jack Beeching 750

_

Basil Bunting _Phillip Callo w

Kay DickMaureen DuffyHarryFainlightWilliam Gerhard i

_

Frederick Grubb_Leslie HalwardAidan Higgins

_

Veronica Hul lFrancis KingJohn McGaher nVernon Scannel lElizabeth SmartFred . UrquhartAnthony West

_David Wevil lAntonia Whit eHugo Williams

Maintenance grant sLouis Battye

300Hope L. Bourne

-

200Alan Burns

250Vincent Cronin

500

1,000_

800800

--

800750

800-

750 800

-- 800 800

--

-

1,200----

- - -

800- -

-

-

1,200800-

800800

--- - 7501,200

-

750

Zulfikar Ghose

300Wilson Harris

125

- -

- -

Michael Holroyd

500_Brian S. Johnson

800

Cressida Lindsay

-

500

-- ---

A. L . Lloyd - --

--

---

-

- 50 0

--

- _Kate O'Brien 750

_

Samuel Selvon

500

_

Kathleen J . Smith

100Peter Stadlen

300- ---

_R. W. Thompson

250Ruth Tomalin

200

Prize s

-

- John Bowle

1,000_Rayner Heppenstall

-

1,000Edgell Rickword

1,000 James Stern 1,000

Otherawards

-

- - Kay Dick -

--

---

-

- - - 250

_

Maureen Duffy

100Michael Glenny

250

_

John Horder

250Veronica Hull

_

100Philip O'Connor

250

6 8

Music

Scotlan d

Special grant sJohn Purse rThomas Wilso nWilliam Wordswort h

Drama

Art

Literature

Music

Dram a

Art

Literature

Bursarie sRichard GallowayJ . Maxwell GeddesMarjory McMichae lEva Ross

New designersDonald Chaffi nMartin Morle yAndrew Sander sMaurice Strike

Commissio nRobert McLella n

Travel GrantAndr6 Tamme s

CommissionsArchie Brenna nTom Macdonal dHamish Rei dSaxe ShawRobert Stewart

BursariesDonald BainJohn Connoll yHamish LawrieTom MacdonaldGeoffrey J . RoperSylvia Wishart

BursariesIan Hamilton FinlayNorman MacCai glain Crichton Smit h

Wales

Laurence BurtPeter Nichola sJohn Phillips

Bryn Griffith sDedwydd JonesRhiannon Davies JonesEigra Lewis Roberts

Glasgow Citizens' TheatreEdinburgh Civic Theatre

Glasgow Citizens' Theatre

Edinburgh Civic Theatre

BursaryJeffrey Lewi s

BursaryWilbert Lloyd Roberts

700

250

202020

200300200300

United Nations Competition Commissio nUnited Nations Competition Commissio nUnited Nations Competition Commission

69

Housing the arts

Table D

Future commitments undertaken in 1966/6 7

England

Bromley Theatre Trust Limited _

64,00 0Leatherhead Repertory Company Limited 50,00 0Harlow Urban District Council 47,50 0Taunton Borough Council 30,000 _Chester City Council 15,00 0Dorset Natural Historyand Archaelogical SocietyCounty_ Borough of Ipswich

13,25 010,000

_Living Arts Limited (A .S .A .D .) 10,00 0Chichester Festival Theatre Trust Limite dYork Citizens' Theatre Trust Limite dMorley CollegeGreenwich Theatre Limited

10,00 07,80 07,50 03,500 _

Bridgnorth : Theatre on the Step sCity and County of Bristol

3,15 02,500

Sunderland Corporation 2,000Avoncroft Arts Society 1,750Bradford City Council 1,600Potheinos Limited 1,550Tavistock Repertory Guarantors Limited 1,000Royal Cornwall Polytechnic Arts Committee _

950 _Malvern Urban District Council 250

283,300

Scotland

Burgh of Motherwell and Wishaw

70,000

_

Dumbarton Burgh Council

20,00 0Glenrothes Development Corporation

10,000

Orkney Federation of Voluntary Associations

1,700101,700

Wales

Welsh National Opera Company Limited

15,000£400,000

70

Accumulated deficiency grants 1966/6 7

Table E

eEnglandBristo10 Id Vic Trust Limited 2,500B ro m I ey Th eatre Tru st Limited 2,000Cambridge: Prospect Productions Limited 1,000Cheltenham Everyman Theatre Company Limited 4,00 0Guildford : Yvonne Arnaud Theatre Management Limited 3,00 0Ipswich Arts Theatre Trust 750Lincoln Theatre Association Limited 4,000

London :National Theatre Board 80,OOOtRoyal Opera House, Covent Garden Limited 130,OOOtSadler's Wells Trust Limited 55,OOOt

Oxford : Meadow Players Limited

5,00 0

Scotlan dEdinburgh Civic Theatre Trust Limited

_

2,200 _Scottish Opera Limited

3,000

tin respect of the reduction of bank overdrafts .

7 1

Analysis of dram a

Table F

Grants and guarantee sfor the year ended 31st March, 1967

Revenue_ __Touring -- Capital New Transport Training Tota l_grants or .grants of __expenditure _ drama and _ _subsidies scheme s

_guarantees guarantees

__ neg/ected _

- -

- plays -- -- `£ £ £

'--£

£ £

_England

-

-- -

- -

Barrow-in-F_urness_:_ Renaissance Theatre Trust __Company Limited 7,000 2,000 100 9,100Birmingham Repertory Theatre Limited 38,000 1,250 _ 875 _

100 363 40,588'Bournemouth Theatre Trust Limited 8,000 _

1,000 100 252 9,352 'Bristol Old Vic Trust_Limited-_

- 42,500t _

1,136

_ 400 450 490 44,976'_Bromley Theatre Trust Limited 17,000t - 250 17,250'Bury-St Edmund's Theatre ManagementLimited 2,000 _ 2,00 0Cambridge : Arts Theatre of Cambridge Limited 1,000 600 1,600 'Canterbury Theatre Trust Limited

__1_0,000 _ .550

_ 575 150 11,275'Century Theatre Limited 23,000

2,000__ _ 200 _ 25,200'Cheltenham Everyman Theatre Compan yLimited

_22,0001 1,500 600 24,100'Chesterfield Civic Theatre Limited_ _6,000_ 200 198 6,398 'Chichester Festival Theatr eProductions Company Limited 10,000 10,000Colchester Repertory Company Limited 16,000 - 350 649 16,999 'Coventry_: Belgrade Theatre Tru_s_t_(Coventry_ )Limited 40,000 300 600 _ 513 41,41 3Crewe Theatre Trust Limited _ 5,000 _ 338 5,33 8Derby Playhouse Limited 15,000 476 300 15,776'Farnham Repertory _ Company Limited 6_,_000 581 125 6,706 'Guildford : Yvonne Arnaud TheatreManagement Limited

_23,000t _

350 . 23,350'Harrogate (White Rose) Theatre_T_rust Limited _10,000_ 288 150 11,935'Hornchurch Theatre Trust Limited 15,000 100 15,100'Ipswich Arts Theatre Trust 18,750t_ _ 221 100 187 19,258'Kingston-upon-Hul lNew Theatre_ Company Limited 2,750 2,750Leatherhead Repertory_ComI an_y_Limited 16,000 100 16,100'Leicester Theatre Trust Limited

_ 20,000 971 200 330 21,50 1Lincoln Theatre Association Limited 14,000t 15,000 350 250 275 29,875'Liverpool Everyman Theatre Company_Limited 5,000- 577 350 5,927 'Liverpool Repertory Theatre - Limited 30,000 1,175 100 _

583 31,858'

London :African Music and Drama Trust 650687 1,33 7Caryl Jenner Productions Limited 5_,000___ 33. 5 5,33 5Children's Theatre

Westminster

Limited 350 350English Stage Company Limited_ 85,000 3,000 650 88,650'Hampstead Theatre Club 1,348 1,34 8I .T. Productions Limited1,0. 00 1,365 2,365 'London Academy of Music and Dramatic Art 1,000 1,00 0London Traverse Theatre Company_ 1,50. 0 _

1,384 _ 322 3,206 'Margate Stage Company Limited _ 55.0 -- 550Mermaid Theatre Trust Limited _ 20,000 500 _ 20,500'National Theatre Board

-

288,000t 18,000 306,000 'Negro Theatre Workshop 300 -- _ 300Newstage Limited

__ 6,000 6,00 0

Carried forward

£806,800 £59,357

£12,797 £13,150 £6,250 £4,312 £902,666

'Maximum commitments are shown, not necessarily the amounts paid .tlncluding special grants shown in Table E .

72

Revenue Touring Capital

Newgiants or grants or expenditure

drama andguarantees guarantees neglecte d

plays

806,800 59,357 12,797

13,150374

500400 42 5

1,000 553,5003,000

3,500 326

42,000

200 625

6,5007,000

26,OOOt

20,000 1,12 5

5,00016,OOOt

10,000 466 539

7,0001,500

15,000

38,00 015,000 700 1,53 4

153,0008,000 628 350

2,00020,000

250

250700 240350

250

3,01 2

0,196,750

£90,057

£14,831

£21,765

£11,826

'Maximum commitments are shown, not necessarily the amounts paid .tlncluding special grants shown in Table E .

England(continued)

Brought forwardPerdita Productions LimitedPiccolo Theatre Compan yQuipu Limite dRepertory PlayersTheatre Centre LimitedWimbledon Theatre Limited

6,250

Malvern Festival Theatre Trust Limite dManchester Public Libraries -Libraries CommitteeNorthampton Repertory Players Limite dNottingham Theatre Trust LimitedNottingham Theatre Trust Limite d(Newcastle-upon-Tyne)Oldham Repertory Theatre Clu bOxford : Meadow Players Limite dOxford University TheatrePlymouth Arts GuildProspect Productions LimitedRichmond Theatre Productions Limite d(Surrey )Rosehill Arts Trust Limite dSadler's Wells Trust LimitedSalisbury Arts Theatre LimitedScunthorpe Civic TheatreSheffield Repertory Company Limite dStoke-on-Trent : Studio Theatre Limite dStratford-upon-Avon :Royal Shakespeare TheatreWatford Civic Theatre Trust Limite dWorcester Arts Association (S .A.M.A. )LimitedYork Citizens' Theatre Trust LimitedAssociation of British Theatre Technician sBritish Centre of th eInternational Theatre InstituteBritish Institute of Recorded Soun dCouncil of Repertory Theatre s'Gambit 'Training Scheme Bursaries and Expense sNew Drama Bursaries and Expenses

15,000

150

7501,000

150

35026

200

85050

400750

100

800

£ £4,312 902,666

37450 0825'

1,055 -3,50 03,000 -

3,976 -

44 44352 16,102'656 44,481 -

6,650 -7,000 -

47,475 -26

5,000 '27,005 -

7,200 -1,500

143 14 3386 16,236 -

50 *38,400 -17,984 -

341

153,34 19,078 -

2,00 020,800 '

250

250940'350250

10,760

10,760'3,01 2

£16,994 £1,352,22 3

Transport

Training

Tota lsubsidies

schemes

73

Revenue

Touring Capital New _Transport Training Tota lgrants or

giants or expenditure__

drama and subsidies schemes

Scotland guarantees

guarantees neglected-

- --

--

- - --plays

_ £ £ £_

Arbroath Abbey Theatre Club 50 50 '

Bo'ness : The Barony Players 250 250

Bertha Wic-ldell's Children ' s Theatre 500 135 635`Dundee Repertory Theatre Limited 21,500 650 365 250 286 23,051 'Edinburgh Traverse Theatre Club 7,000 _ 7,000 '

Edinburgh Civic Theatre Trust Limited 39,2001 875 591 400 495 41,561 '

Glasgow : Citizens' Theatre Limited 41,000 360 650 500 468 42,978'

Perth Repertory Theatre Limited 12,500_

1,0.00 200 _ 13,700'_PitlochryFestival Society Limited 14,000 300 14,300

St Andrews Play Club: Byre Theatre 872 872

British Centre of th eInternational Theatre Institute 50 50

Council of Repertory Theatres 50 50Training Scheme Bursary _ 125 125

£136,972 £3,020 71,906 71,350 £1,374 £144,622

'Maximum commitments are shown, not necessarily the amounts paid .tlncluding special grants shown in Table E .

74

Theatre companies :Details of costs, revenue and subsidies 1963/6 6

Ke ya=1965/66b=1964/6 5c=1963/64

Englan d

Barrow-in-Furness:

aRenaissance

bTheatre Trust

cCompany LimitedBirmingham

aRepertory Theatre

bLimited

cBristol Old Vic

aTrust Limited

bc

Bromley Theatre

aTrust Limited

bc

Canterbury Theatre

aTrust Limited

bc

Century Theatre

aLimited

bc

Cheltenham

aEveryman Theatre

bCompany Limited

cChesterfield Civic

aTheatre Limited

bc

Chichester Festival

aTheatre Productions bLimited

cColchester Repertory aCompany Limited

bc

Coventry : Belgrade

aTheatre Trust

b(Coventry) Limited

cCrewe Theatre

aTrust Limited

bc

Derby Playhouse

aLimited

bc

Farnham Repertory

aCompany Limited

bc

Guildford : Yvonne

aArnaud Theatre

bManagement Limited cHarrogate: (White

aRose) Theatre Trust bLimited

cHornchurch

aTheatre Trust

bLimited

C

Total Total As per- Subsidies and Donation stheatre net centage 'Arts #Local Approxi- Indepen-

Industry Trustsoperating trading of Council authori- mate dent

and andcost revenue cost ties equiva- Tele-

Com- otherlent to vision

merce sup -a local portersrate of

£ £ £ £ £ d £

£ £

22,491 12,296 54 9,750 1,675 •21 -

1,000 42822,101 13,647 62 4,200 2,125 26 -

1,000 85219,175 12,820 67 3,450 1,050 •13 -

1,000 780

61,036 32,330 53 22,650 7,000 •03 -

- -58,941 34,103 57 17,550 7,135 •03 -

- -59,084 36,100 61 15,150 5,000 •02 -

- -114,474 66,072 58 23,758 26,200 •31 -

- -90,284 51,314 57 19,564 23,675 •29 -

- 1,50062,369 46,310 74 15,549 2,500 •03 -

- 1,20 070,128 53,166 75 6,510 7,500 •12 -

- -84,914t 69,336 82 3,845 10,000 •58 -

- 44255,015t 50,704 92 3,920 6,000 •36 -

- -26,923 20,053 74 6,220 6,600 1 . 12 -

- -22,795 15,222 67 5,200 6,600 1 .16 600

- 5026,624 19,620 74 4,450 6,602 1 . 20 600

- -32,663 12,180 37 15,200 7,115 - -

- 27517,120 11,077 65 4,000 600 - -

- 15 120,360 12,432 61 6,025 750 - -

- 49951,760 41,077 79 12,000 3,354 •24 -

- 1,00945,617 35,218 77 7,125 3,510 26 -

- 67645,402 36,850 80 5,474 3,400 •26 -

- 59916,866 10,395 62 3,700 2,775 •22 -

- 15315,844 11,534 69 3,650 2,775 •23 -

- -20,977 13,644 65 3,600 2,775 •24 -

- -142,716 142,583 100 - - - -

- -48,687§ 40,067 82 - - - -

- -42,625§ 43,581 102 8,000 - - -

- -36,826 19,117 52 8,000 4,207 •38 -

- 97 129,069 16,056 55 5,900 3,984 •38 -

- 2,15 925,014 13,869 55 6,250 3,158 •31 -

- 1,06 8200,609t 142,614 71 30,760 15,246 •28 -

- -120,293 93,636 78 18,434 13,150 25 -

- -111,627 89,395 80 15,022 6,750 •13 -

- -14,648 7,892 54 3,500 4,300 •53 -

- -6,507t 3,527 54 980 2,000 •21 -

- 21 6

35,746 24,070 67 6,800 2,551 •09 -

- -31,382 24,198 77 4,850 2,471 •09 -

- -29,705 25,698 86 4,600 1,386 •05 -

- -22,832 17,132 75 4,438 460 •07 200

- 18217,963 14,878 83 4,449 130 •02 -

- 19 113,956 12,029 86 2,541 120 •02 1,000

- 20 8160,424 129,226 80 10,250 1,865 •12 -

- -5,683t - - 5,000 1,000 •06 -

- -

35,990 20,340 56 4,837 - - -

- 2,86 333,945 25,701 76 2,550 - - -

- 3,86 335,477 29,458 83 2,780 - - -

- 2,50 639,569 22,022 56 7,000 9,254 •19 -

- -32,614 20,085 60 5,500 11,215 •45 -

- -31,456 18,841 60 5,000 5,512 •22 -

- -

75

Key Total Total As per- Subsidies and Donations _a=1965/66 theatre net centage 'Arts #Local Approxii- lndepen_- Industry _Trusts_b=1964/65 operating trading of Council_

_authori- mate dent and _and

c=19. 6_3_/64 cost revenue cost ties equiva- Tele- Com- - othe r- - lent to vision merce sup -

---

- - - -

- a local porters

England rate of

(continued) £ _£ £ £ £ d £ £ £

Ipswich Arts 33,695 20,759 62 8,040 3,500 •12 -

- - -

Theatre Trust b 35,512 25,196 71 6,300 - - 100 - 244

c 33,507 27,959 83 6,042 100 _ - 21 7

Leatherhead a 36,461 26,063_

71 8,521_ 675_ •08_ _

500 -- 3

Repertory Company b 31,566 25,249 80 5,940 . 675 •08 - _

500 52

Limited

_c 27,256 22,547 83 5,893 550 •06 _ 500 -_

Leicester Theatre a 53,119 35,618 67 9,675 2,645 •04 - - 472

Trust Limited_

b 42,718 29,737 70 6,573 2,365 •04 - - 999

- c ---20,8781 16,471 79 4,182 - - - - 5,43 1

Lincoln Theatre a 50,015 29,289 58_

18,811 2,769 _27 375 39 1

Association Limited b 47,756 29,423 62 11,389 2,677 26 375- _- _ 1,46 6

c 42,340 30,561_

72 8,591_

2,917 •29 - - _1,369

Liverpool Repertory a 57,158 46,172 81 14,275 - - 992

Theatre Limited b 65,444 54,314 83 7,300 -c 59,523 55,007 92 5,00 0_

London :English Stage a 258,337 201,782 78 50,555 2,710 _ - 1,23 5

Company Limited b 94,250 68,406 73 32,780 2,710 - - - 1,802

c 97,083 70,287 72 35,000 2,710 - 3,680_Mermaid Theatre a 148,672 110,585 74 21,000

Trust Limited b 144,992 106,973 74 10,461 - - - - 2,500

c 129,764 103,168 79 7,384 - - - - - -

National Theatre a 673,018 330,696 49 188,000 51,431 - - - -

Board b 580,274 283,871 49 142,000 40_,0_00_

c 268,4901 114,924 43 130,000 -

New Shakespeare a 20,474 12,798 62 _

500 4,255 410

__ 1,163 -_Company Limi_ted__ b 28,424 22,043 77 2,000 3,605 _210_ 950 -

C 22,012 _ 16,352 _

74 1,000 3,000 - 1,000 -

46,062 39,637 88 9,050 _ __- - - -Northampton

__aRepertory_Mayers b 45,200 40,085 _

89 7,300_ __

438 - -

Limited c 40,628 34,470 _ 85 7,300 _ 829 -04 750 = -_Nottingham Theatre a 137,512 83,16_2__- 60 26,879 29,800 •50

Trust Limited b _ 121,415 81,492 67 19,946 22,900 •3 9

c 61,243 36,556 _

60 18,793 14,000 _ •24

Oldham Repertory_- _a 33,718 33,806 100 7,000 = _

Theatre Club b 28,282 26,154 92 6 1 000

c 29,063 30,298 104 4,500 - - - - -

Oxford : Meadow a _ 58,402 29,785 51 24,900 4,000 •14 - - -

Players Limited_

_ - b_ 43,734 26,675 61 13,850 3,000 •1 1

c 22,196 9,334 42 12,329 3,000 12 - - 500

Prospect a 43,568 24,867 58 _17,154_ - - 3,00 0

Productions b 18,3701 12,875 70 3,80_0_

Limited c 2,72 5

Richmond Theatre a 57,596 53,154 92 2,200 2,600 •04 - - 500

Productions Limited b 49,62948,2 6.597 2,200 - 650 -

(Surrey_)

-- - c 49,358 49,212 _

99 1,200 _ _ -750 -

Salisbury Arts a

_ 30,891 23,218 75 8,690 706 •10 _- - -Theatre Limited b 30,466 23,602 77 7,202 _731 •11 600 - 444

c 31,795 24,252 76_

7,300 696_ •11 600 - _

385_Sheffield Repertory

_a 53,082 30,596 55 19,120 - - - - 2,00 0

Com_pany Limited b 49,016 37,690 77 11,520 5,000 •06 500

c 39,611 34,561 87 1 1,200

76

Keya=1965/66b=1964/65c=1963/64

England(continued)

Stoke-on-Trent :

aStudio Theatre

bLimited

cStratford-upon-Avon : aRoyal Shakespeare

bTheatre (including

cAldwych Theatre)Watford Civic

aTheatre Trust

bLimited

cYork Citizens'

aTheatre Trust

bLimited

c

Scotland

Dundee Repertory

aTheatre Limited

bc

Edinburgh Civic

aTheatre Trust Limited b

cEdinburgh Gateway aCompany Limited

bc

Glasgow Citizens'

aTheatre Limited

bc

Perth Repertory

aTheatre Limited

bc

Pitlochry Festival

aSociety Limited

bc

St Andrews Play

aClub - Byre Theatre b

c

Total Total As per- Subsidies and Donation stheatre net centage 'Arts *Local Approxi- Indepen-

Industry Trustsoperating trading of Council authori- mate dent

and andcost revenue cost ties equiva- Tele-

Com- otherlent to vision

merce sup -a local portersrate of

£ £ £ £ £ d £

£ £

31,355 14,763 47 9,229 5,410 •14 -

- 1 822,092 12,307 56 6,375 3,630 •10 -

- 2918,343 9,837 54 9,505 3,641 •10 -

- 153733,268 615,161 84 93,273 - - -

- 5,000692,129 541,486 78 88,136 - - -

- 5,000616,188 513,992 83 47,232 - - -

- 10,000

54,931 29,860 54 3,460 19,000 •81 -

- -30,101 t 10,419 35 - 15,410 •67 -

- -

-II - - 7,208_

50,138 42,282 84 4,724 - - -

- -45,832 39,223 85 3,050 - - -

- 26

36,408 16,529 45 14,600 4,000 •23 -

- 1,48533,852 12,697 31 13,203 4,000 •24 -

- _ -29,012 12,023 41 13,900 4,000 •24 -

- -126,307 54,033 43 16,200 41,439 •80 -

- 1,05 0

26,511 17,129 65 6,671 2,000 •04 -

- -22,179 17,431 79 5,450 2,000 •04 -

- -109,771 49,233 45 21,450 6,700 •08 -

- 16,26268,537 37,473 55 18,888 6,200 •07 -

- 1,10860,900 38,767 64 15,314 6,200 •07 -

- 7940,823 22,844 56 13,200 2,000 •55 -

- 3,16542,262 25,857 61 12,114 1,350 •37 -

- 3,69 943,277 26,157 60 10,850 1,350 •38 -

- 3,66 661,542 49,825 81 9,800 631 - -

- 1,80 350,032 42,319 85 6,725 531 - -

- 2,48 142,890 39,607 92 4,200 491 - -

- 3,29 05,976 5,002 84 660 - - -

- 3145,539 4,352 80 460 - - -

- 51 74,854 4,311 89 380 - - -

- 243

Notes :'The amounts shown in the Arts Council column are for the financial years ending 31 st March, and represen tthe total grants offered by the Arts Council, together with guarantees against loss still outstanding at that date .

tThere are many cases in which further financial assistance is given to theatres by way of indirect subsid yfrom local authorities and other bodies (e.g . nominal or reduced rents, remission of rates, services or good sgiven without charge, etc .) .

tin these cases the figures apply to a period other than twelve months. In all other cases the period is fo ra full year but not necessarily ending on 31st March .

§Figures shown reflect surpluses on National Theatre Company seasons .IlAccounts not yet available .

78

The Arts Council of Great Britai n

Revenue and expenditure accoun tfor the year ended 31st March, 196 7

1965/66

3,276,230 General Expenditure on the Arts in England (see Schedule 1 )

161,556 General Operating Costs in England (see Schedule 2 )

12,505 Capital Expenditure Transferred to Capital Accoun t

2,028 Reserve for Capital Purchase s

270,390 Grant to Scottish Arts Counci l

209,922 Grant to Welsh Arts Counci l

4,817 Balance carried down

£3,937,448

f:5,742,778

4,711,597

185,039

19,129

4,76 8

467,836

305,000

49,40 9

70,612 Balance carried forward to Balance Sheet

£70,612

120,02 1

£120,021

79

1 -96576fi

-

3,910,000 Grant in Aid : H .M . Treasury 5,700,00 0

1,500 Cancellation of Reserve for Loan s

514 Transfer from Theatre Royal, Bristol Reserve Fund _ _ _ -

- Transfer from Reserve for Special Art Projects 1,000

Cancellation of Grants, Guarantees16,526 and provision for expenses in previous year not required 20,99 9

Sundry Receipt sInterest: Bank and Investment _20,334 _Proceeds of Sale of Assets 420 _Miscellaneous 25

8,908_

-

-- 20,77 9

£3,937,448 -

- -

-- £5,742,77 8

_

65,795 Balance brought forward at 1st April, 1966 70,61 2

4,817 Balance brought down 49,40 9

-

- -

£70,612---

- - £120,021

80

The Arts Council of Great Britai n

Balance shee tas at 31st March, 196 7

Liabilities

1966

Capital AccountBalance as at 31st March, 196 6

Add Capital Expenditure during year transferred fro mRevenue and Expenditure Accoun t

Less Book Value of Assets sold or written of f157,776

Revenue and Expenditure Account70,612 Balance as at 31st March, 196 7

38,243 Special Funds (see Schedule 5 )

Reserve for Special Art Project sBalance as at 31st March, 196 6Less Amount transferred to Revenue and Expenditure Accoun t

19,497

152,975 Grants and Guarantees Outstandin g

2,028 Reserve for Capital Purchases

Credit BalancesSundry Creditors and Accrued LiabilitiesDue to Welsh Arts Counci l

58,01 9

£ £

157,776

19,12 9176,905

6,433170,472

120,02 1

40,52 6

19,49 71,000

18,49 7

274,31 3

4,768

49,78 941

49,830

£499,150

Carried forward

£678,427

8 1

Assets

1966£

£

£

Office Equipmen t_

At valuation as at 31 st March, 1956, and additions at cost les sitems sold or written off to 31st March, 1966

24,57 0Additions at cost during year

2,605

_--

27,17 5

Less items sold or written off during year

40 524,570 --

- 26,770

Motor Vans and Car sAt cost as at 31st March, 1966

11,417

_Less items sold or written off during year

3,097

----

11,417

--

-8,320

Cello Account

_100 At valuation as at 31st March, 1960

100

Theatre and Concert Hall EquipmentAt valuation as at 31st March, 1965, and additions at costless items sold or written off to 31 st March, 1966

1. 0,763Additions at cost during year

26 111,02 4

Less items sold or written off during year 3510,763 _

10,989_Art Exhibition Equipmen t

-valuation as at 31st March, 1956, and additions at cost_At

_ __less items sold or written off to 31st March_, 1966 12,69 2Additions at cost during year 284

_12,97 6

Less items sold or written off during year 2,88412,692 10,09 2

Works of ArtAt cost as at 31st March, 1966 91,083_Additions at cost during year 15,386

91 ,083

- -

-

-

-

Reproduction sAt valuation as at 31 st March, 1957, and additions at cost

less items written off to 31st March, 1966

_Additions at cost during year

106,46 9

7,151593 _

7,744

Less items sold or written off during yea r7,151 7,732

38,243 Special Funds : Assets (see Schedule 6)

40,52 6

£196,019 Carried forward

£210,99 8

82

Balance sheetas at 31st March, 1967

Liabilities

1966£

£499,150 Brought forward

678,427

Note :No provision has been made for depreciation of Assets :renewals are charged to Revenu e

£499,150

I have examined the foregoing Account and Balance Sheet . I have obtained all th einformation and explanations that I have required and I certify, as the result of my audit, that i nmy opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an dfair view of the transactions of the Arts Council of Great Britain and of the state of their affairs .

Signed : B . D . Frase rComptrollerandAuditor General, Exchequer and Audit Department, 4th August, 1967

£678,427

83

Assets

1966

196,019 Brought forward

_

210,998

_Loans to Associated and Other Organization s

-

Secured by MortgageBalance as at 31 st March, 1966

_

2,500

_Less repaid during year

125

_--

-

-

-

--

2,37 5

Secured by Investment

_ 3,330

_

5,830

5,70 5Investments

- 41 per cent British Electricity Guaranteed Stock 1974/79

_(Market Value £2,338)

2,41 9Equities Investment Fund for Charities

_ (Market Value £2,808)

2A-32-

4,851

4,85 1

181,200 Grants and Guarantees Paid in Advance

320,926

225 Wigmore Hall Canteen Stock

252

Sundry Debtors and prepayments

27,556

_

_

Expenditure on future exhibitions in preparation

6,13 6Due from Scottish Arts Council

3 7_

Due from Welsh Arts Council

_

10,425

_60,372

44,15 4

_

On Bank Deposit

85,938 _On Current Account

4,502-

- ---On

- -- - 93 1_ In Hand

170

_50,653

91,54 1

£499,150

Chairman : Goodma n

Secretary-General : Nigel J . Abercrombie

£678 427

85

The Arts Council of Great Britai n

Schedule 1

General expenditure on the arts in Englan dfor the year ended 31st March, 1967

Music

Opera and Ballet

__

-

Grants and Guarantees (see Schedule 3)

2,140,80 0

Opera for All:Gross Expenditure

_

41,09 9

Less : Revenue

15,27625, 8. 2_3 _

Symphony Orchestra sGrants and Guarantees (see Schedule 3)

573,663 _

Other Activities _Grants and Guarantees (see Schedule 3) 112,732

Wigmore Concert Hall : ___

-

Gross Expenditure (including costs of repairs to building) 19,464

_

Less : Revenue 11,0808,384

Less : Surplus on Wigmore Hall Catering 1288,25 6

Audition Expenses 65--2,861,33 9

Drama

Grants and Guarantees (see Schedule 3)

_ 1,352,223

Art

Grants and Guarantees (see schedule 3)

46,246 _

Net Cost of Exhibitions (see Schedule 4)

90,97 3

Art Films ToursGross Expenditure

2,01 4

Less : Revenue

1,049

Art rums:Giacometti 2,25 0

The Pre-Raphaelite Brotherhood 1,50 0

The Nativity 1,1_51 _

Duchamp 38British Film Institute : Sundry Expenses 1 2_

-

- 4,95 1

Less: Turner (Surplus) 246

4,70 5

South Bank Gallery:Designer's Fees and Expenses 524

143,413

Festivals

Grants and Guarantees (see Schedule-3)--

_

30,238

Literature (including

Grants and Guarantees (see Schedule 3)

50,12 3

Poetry)PoetryLibrary and Miscellaneous Expenses

-1-,42-7-51,55 0

Arts Associations

Grants and Guarantees (see Schedule 3)

87,47 4

Arts Centres and Arts Clubs

Grants and Guarantees (see Schedule 3)

2,91 0

Housing the Arts

Grants (see Schedule 3)Music

32,250

Drama

92,050

Art

44,450

Arts Centres

13,700182,450

Net Expenditure transferred to Revenue and Expenditure Account

£4,711,597

86

The Arts Council of Great Britai n

General operating costsfor the year ended 31st March, 1967

£

£Salaries and Wages:Music 17,05 8Drama 15,41 1Art 20,73 5Literature 6,56 7Finance 27,127Administration 25,326

112,224Superannuation 14,769

126,993

Travelling and Subsistence

7,45 5

Rent and Rates 16,86 0

Fuel, Light and House Expenses 13,01 8

Publicity and Entertainment 6,494

Stationery and Printing

3,898

Professional Fees

24 8

Office and Sundry Expenses

10,07 3

Transferred to Revenue and Expenditure Account

£185,039

Note :

Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .

Schedule 2

87

The Arts Council of Great Britai n

Schedule 3

Grants and guaranteesfor the year ended 31 st March, 196 7

Music

Opera and Ballet £

£Royal Opera House, Covent Garden Limited

_1,225,000' _

Sadler's Wells Trust Limited 638,000'_Two Ballets Trust Limited 97,500'_London Opera Centre for Advanced Training_and Development Limited___ 59,500'English Opera Group Limited 40,000'

_Western Theatre Ballet Limited 30,00 0

_

_Ballet for All 15,500' -_

Balmin Productions Limited 14,000 '__

National School of Opera 4,000' _D'Oyly Carte Opera Trust Limited 2,500Handel Opera Society 2,250 'Intimate Opera Society Limited _ 2,000 •Harlequin Ballet Trust Limited 1,87 5New Opera Company Limited 1_,000 'Cambridge University Opera Society

_800 '

Opera Players Limited 750London Opera Group (Epsom) 650 'Hintlesham Festival Trust Limited

_600 '

Midland Sinfonia Concert Society Limited 540_Philopera Circle 477_Phoenix Opera Limited 450'_

Opera Group_Chelsea 400'Morley College Opera Group 350'_Opera da Camera (N .E . Midlands) 300_Liverpool Grand Opera Company 250_Clare College, Cambridge 21 8Figaro Opera Group 200Southampton University Arts Festival Committee 200'University College London Music Society 200 'Kentish Opera Group _175 'Maidstone Opera Group 17 5

--

Opera 1961

- -

150Bristol Opera School 100_

of Covent Garde n_

_FriendsLondon Borough of Croydon_ (Fairfield Hall) 100 '_

_Opera in the Marches

_100

Unicorn Theatre Club (Abingdon)

100Ashleyan Opera Group

80Bath Opera Group

_75 -Sacred Music - Drama Society

_ 75 _Southern Region Opera Company Limited

60

Orchestra sLondon Orchestral Concert Board Limite dWestern Orchestral Society Limited (Bournemouth Symphony Orchestra )Hal16 Concerts SocietyRoyal Liverpool Philharmonic Societ yCity of Birmingham Symphony OrchestraNorthern Sinfonia Concert Society LimitedLondon Philharmonic Orchestra LimitedEastern Authorities Orchestral Association

_Philomusica of London Limited

Nolypnoma LimiteoNew Philharmonia Orchestra Limited

_Royal Philharmonic Orchestra Limited

Carried forwar d

'Maximum commitments are shown, not necessarily the amounts paid .

2,140,800

_212,50083,350'

-

72,100.

_

68,000'65,500'28,550'20,500*15,300 '

- - - 3,000' 2,500-

1,513 -500350'

573,663-

£2,714,463

88

Music(continued)

Brought forward 2,714,46 3Other activitie sNational Federation of Music Societies 49,493'Cheltenham Arts Festival Limited 4,950Brighton Philharmonic Society Limited 4,000 'Royal Philharmonic Society 4,000 'English Bach Festival Trust 3,180Tees-side International Industrial Eisteddfod 3,104Aldeburgh Festival of Music and the Arts 3,000Three Choirs Festival Association Limited (Worcester) 3,000 'Westminster Abbey 3,00 0English Chamber Orchestra and Music Society Limited 2,50 0Youth and Music Limited 2,500 'Bristol Sinfonia Limited 2,000 'Midland Sinfonia Concert Society Limited 2,000 'Macnaghten Concerts 1,885 'Society for the Promotion of New Music 1,50 0Standing Committee on the Employment of Musicians 1,000John Alldis Choir 900Park Lane Group Limited 750'Dolmetsch Foundation (Haslemere Festival) 700Medway Towns Joint Committee for Arts and Entertainment 629 'Lake District Festival Society 600 'Tilford Bach Festival Choir and Orchestra 560 'Nottingham Theatre Trust Limited 500Thames Concerts Society

_500

Sutton Coldfield Philharmonic Society 458'Robert Mayer Concerts Society Limited 450'Southern Orchestral Concert Society 450'Cheltenham Chamber Orchestra Association 400'South Place Sunday Concerts 400'Leeds International Pianoforte Competition 375'Orchestra da Camera (Birmingham)_ 350'Tilford Bach Society 340'Institute of Contemporary Arts (Music Section) 330'Guildford Corporation 300'Isle of Wight Subscription Concerts Society 300'Contemporary Concerts Co-ordination 250 'Manchester Mozart Orchestra Society 250 'St Clement Danes Music Society 250 'Soho Music Society 250 'Hounslow Concert Society 225National Music Council of Great Britain 225National Trust Concerts Society Limited 225St John of Beverley Festival Committee 220Manchester Tuesday Mid-day Concerts Society 210 •Berlioz Centenary Committee 200Elizabethan Singers 200'Heinrich Schutz Choir 200Ipswich Civic Concerts 200London Bach Society 200Shakespeare's Birthplace Trust 200Leicester University Arts Festival 170 •Presentation of New Artists Society Limited 150International Organ Festival, St Albans 145New Cantata Orchestra of London Limited 145 'Newbury String Players 145Carried forward £104,464 £2,714,46 3

'Maximum commitments are shown, not necessarily the amounts paid .

89

Brought forward_ 104,464

2,714,46 3Music

Other activities (continued)_ ---(continued)

Scuola di Chiesa 135 'Stour Music Committee 125_Linton Music Society 100Redcliffe Concerts of British Music 100Renaissance Society

_ 100'County Concerts Limited 75'Madley Festival Society 75Musica Antica a Nuova 60'Friends of Canterbury Cathedral 50Royal Musical Association 50Sheffield Bach Society 50Southern Cathedrals Festival Society 49Talbot Lampson School -for Conductors and Accompanists ___4 0Midlands Arts Centre for Young People _

15'Commissions 836'Bursaries and Awards

6,408'112,73 2

Drama

Barrow-in-Furness: Renaissance Theatre Trust Company Limited 9,100 'Birmingham Repertory Theatre Limited 40,58 8Bournemouth Theatre Trust Limited

_ 9,352'

_Bristol Old Vic Trust Limited 44,976 'Bromley Theatre Trust Limited 17,250 'Bury St Edmund's Theatre Management Limited 2,000Cambridge : Arts Theatre of Cambridge Limited 1,600 'Canterbury Theatre Trust Limited 11,275 "Century Theatre Limited 25,200 "Cheltenham Every man Theatre Company Limited 24,100 'Chesterfield Civic Theatre Limited 6,398 'Chichester Festival Theatre Productions Company Limited 10,00 0Colchester Repertory Company Limited 16,999 'Coventry. Belgrade Theatre Trust {Coventry) Limited 41,41 3

_

Crewe Theatre Trust Limited

_ 5,338Derby Playhouse Limited__

_ 15,776'

_

_

Farnham Repertory Company Limited 6,706 'Guildford : Yvonne Arnaud Theatre Management Limited 23,350 'Harrogate (White Rose) Theatre Trust Limited 11,935 'Hornchurch Theatre Trust Limited 15,100 'Ipswich Arts Theatre Trust

- 19,258 'Kingston-upon-Hull New Theatre Company Limited 2,750

_Leatherhead Repertory Company Limited 16,100 'Leicester Theatre Trust Limited 21,501 'Lincoln Theatre Association Limited 29,875 '

_Liverpool liveryman Theatre Company Limited 5,927Liverpool Repertory Theatre Limited 31,858 '

London:African Music and Drama Trust 1,337Caryl Jenner Productions Limited 5,335Children's Theatre (Westminster) Limited 350

__

English Stage Company Limited 88,650 'Hampstead Theatre Club Limited 1,348I .T . Productions Limited 2,365'

_London Academy of Music and Dramatic Art 1,000

-London Traverse Theatre Company 3,206 'Carried forward £569,316 £2,827,195

'Maximum commitments are shown, not necessarily the amounts paid .

90

Brought forwardDrama

Margate Stage Company Limite d(continued)

Mermaid Theatre Trust LimitedNational Theatre BoardNegro Theatre Worksho pNewstage Limite dPerdita Productions LimitedPiccolo Theatre CompanyQuipu Limite dRepertory Player sTheatre Centre Limite dWimbledon Theatre: London Borough of Merto n

Malvern Festival Theatre Trust Limite dManchester Public Libraries : Libraries Committe eNorthampton Repertory Players LimitedNottingham Theatre Trust Limite dNottingham Theatre Trust Limited (Newcastle-upon-Tyne )Oldham Repertory Theatre Clu bOxford : Meadow Players LimitedOxford University TheatrePlymouth Arts Guil dProspect Productions Limite dRichmond Theatre Productions Limited (Surrey )Rosehill Arts Trust Limite dSadler's Wells Trust LimitedSalisbury Arts Theatre LimitedScunthorpe Civic Theatr eSheffield Repertory Company LimitedStoke-on-Trent : Studio Theatre Limite dStratford-upon-Avon : Royal Shakespeare TheatreWatford Civic Theatre Trust LimitedWorcester Arts Association (S .A .M .A .) LimitedYork Citizens' Theatre Trust LimitedAssociation of British Theatre Technician sBritish Centre of the International Theatre Institut eBritish Institute of Recorded Soun dCouncil of Repertory Theatres'Gambit 'Training Scheme Bursaries and ExpensesNew Drama Bursaries and Expenses

£

£569,316 2,827,19 5

55020,500'

306,000 '300

6,00 0374500825'

1,055 '3,50 03,000

3,976 -44

16,102 -44,48 1

6,650 '7,000 -

47,475 -26

5,000 '27,005'7,200' _1,50 0

14316,236'

50' _38,400'17,984'

153,341 -9,078 -2,000

20,800 -250250940 '350250

10,760'3,012'

1,352,22 3

Art

Birmingham :Ikon Gallery

50Midlands Arts Centre for Young People

200

Bournemouth Arts Clu bBrentwood Art SocietyBristol : Arnolfini Gallery Limite dBromley Art SocietyBruton Art Societ y

Cambridge :Clare College Picture GuildForm MagazineCarried forward

'Maximum commitments are shown, not necessarily the amounts paid .

200 '30

700 '75 '50

50100

£1,455 £4,179,418

9 1

B_rought forward 1_,45.5- 4,179,41 8Art

Christchurch : Red House Museum and_Art_ Gallery__

_ _ - 100' _(continued)

Colchester An Society 75'

_-Felixstowe Urban District Council

_ 2 5Folkestone : New Metropole Arts Centre Limited 85.0'-_ _Ilkley Art Club 30

1,600 'Lake District Art Gallery- Tru_s_t _Leeds University Union 125'

-Leicester University Students' Union 100 '

London :Artists International Association 500Art Placement Group

_ 60Association of the Polish Artists in Great Britain _60 'British -Puppet and Model Theatre Guild 396Council for the Care of Churches _ 250Free Painters and Sculptors Limited _200 'Institute of Contemporary Arts 14,500 'Italian Art and Archives Rescue Fund 1,000The London _Group _600'Printmakers' Council 250Society for Education through Art 500 'Surrey University Students' Union_ 5 0United Kingdom National Committee of the International Association of Art 300 'Whitechapel Art Gallery 5,000 'Women's International Art Club 300'Young Contemporaries 1967 325*

Manchester :Northern Crafts Centre Limited 150Northern Young-Contemporaries 300'

Newcastle Society of Artists _25_

_Newlyn Society_of Artists 350'

_Norfolk_Contemporary Art Society 50'__Nottingham_ Midland Group of Artists -__ 1,450 '

Oxford :_Bear Lane Gall_e_ry Limite d_Museum of Modern An-Limited

_ University_Art Club

_

Penwith Society of Arts 1,400 'Plymouth City- Museum and Art Gallery 100Reading Festival of the Arts 50'Southampton University_Film Unit_ 200Stroud Festival Art Committee 70

_---Sudbury : Gainsbor_ough's House Society - 100'

_

Truro and District Art Society

_ 35Welland Valley Arts Society 1 0Wellingborough Art Society 50

__

Welwy_n_Digswell Arts Trust__ 150'

_Worthing Museum and Art Gallery 40

__

Wycombe Arts _Festival _ 30' -__ B_ursaries___ 4,700

Purchase Awards 4,600

_Commission s---

--

- 1,700 '- -

-46,24 6

Carried forward £4,225,66 4'Maximum commitments are shown, not necessarily the amounts paid .

1,100 '90_0 '

- - -35

-

92

Arts Festival s

Literature(including Poetry)

Brought forwardBath Festival Society LimitedBattle and District Arts Grou pBromsgrove Festival LimitedCambridge Festival Association LimitedDawlish Arts Festival SocietyDorchester Abbey Festival CommitteeHarrogate Festival of Arts and SciencesKing's Lynn Festival Committe eLittle Missenden Festiva l

London :Camden Arts Festiva lFestival of the City of Londo n

Ludlow Festival Society LimitedMacclesfield Arts Festival Limite dMedway Arts Counci lSt Peter's Netherseale, Parochial Church Council's Festival Committe ePlymouth Arts Guil dRadcliffe Arts Festival CommitteeRyedale Festival of Music and Dram aSaffron Walden Festival Committe eStroud Festival of Religious Drama and the ArtsWycombe Arts Festival CommitteeYork Festival Society Limite d

Apollo Society LimitedCheltenham Arts Festival Limited : Cheltenham Festival of Literatur eCley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea )Hampstead Theatre Club Limite dInternational PEN (English Centre)Leicester University Arts Festiva lLewes Poetry Grou pLondon Library TrustNational Manuscript Collection of Contemporary Poets Fun d

Poetry Book Society Limited :Genera lNational Library Wee k

Poetry Societ yRyedale Festival of Music and Dram aSociety of Barrow PoetsSurrey University Students' Unio nTrustees and Guardians of Shakespeare's Birthplac eYorkshire Council of Social Servic e

Publications:'Adam International Review ''Agenda ''Ambit''Aylesford Review''Expression''Extra Verse ''London Magazine''Modern Poetry in Translation 'Carried forward

'Maximum commitments are shown, not necessarily the amounts paid .

f

£

£4,225,664

3,50 0237500500150

105

_2,5002,450 '

225 '

3,00 07,00 0

1,46 1300349200750'

5025

100'300'

36'

6,500

30,238500910

8800

1,500 '250 '25 '

5,000500

1,900 -500 *

2,40 02,000 -

50600'

50'475250

500400 '100150

50 '100 '

2,000300 '

£18,918 £4,255,902

93

Brought forward 18,918

4,255,90 2Literature

Publications : (continued )(including Poetry)

'New Measure' 30'(continued)

'Outposts' 200'Solstice' _

50'

_'Transatlantic Review '

BursariesMaintenance Grants

1,200 '

17,950

_6,575 '

Prizes 4,000

50,12 3Arts associations

Lincolnshire Association 14,849'Midlands Association for the Arts :Administration 1,750Transport Subsidy 500'

_

2,250Arts Centres and Arts Clubs :Alfreton and District Arts Association 125 'Bridgnorth : Theatre on the Steps 350 'Cannock Arts Council 150 'Coventry : Umbrella Club 390 'Dudley Arts Council 250 '

_Kettering and District Three Arts Clu bLeek and District Arts Council

100'125'

Rugby: Percival Guildhouse 150'

_Shirebrook and District Three Arts Club 25Shrewsbury and District Arts Associatio nStafford and District Arts CouncilWolverhampton Civic Hall Arts SocietyWorcester Arts Associatio n

-- -

-

North Eastern Association for the Arts

_ 250' _400'

_3030

- --

-

4,62 560,000

South Western Arts Association :Administration 3,75 0Transport Subsidy 250 '

4,00 0

'Cornish Review'

500

Arts Centres and Arts Clubs :Beaford Arts Centre Arts Society 150 •Beaminster Arts Society 1. 00Blandford Arts Club 75Bridgwater and District Guild 300Bristol Arts Centre 300 '

-

- -

Dawlish Winter Arts Concerts 35Exeter Arts Group 150Exeter University Arts Festival 135Falmouth : Royal Cornwall Polytechnic Society 350

IsleofPurbeckArtsClub 50 'aun~tonSocietyof Arts 50'

MineheadArtsFestival 70'MineheadArtsSociety 100Newton Abbot Societyof Arts 50'

PlymouthArtsCentre 350St AustellArts Centre 350

Carried forward £7,115

£79,474 £4,306,025

'Maximum commitments are shown, notnecessarilythe amounts paid .

94

£ £ £Brought forward 7,115 79,474 4,306,02 5

Arts associations South Western Arts Association (continued )(continued) Arts Centres and Arts Clubs (continued )

Shaftesbury and District Arts Club 350Taunton Deane Society of Arts 60Truro Three Arts Society 50 'Warminster Arts Club 50Weston-super-Mare Society of Arts 2 5Weymouth and South Dorset Arts Centre 350

8,00087,474

Arts centres and arts clubs Beccles and District Arts Society 35'Crewe and District Music and Arts Society 75•Doncaster Arts and Museum Society 150 `Folkestone: New Metropole Arts Centre Limited 350Hastings : Stables Trust Limited 350King's Lynn : St George's Guildhall Limited 500Liverpool : Bluecoat Arts Forum 400Manchester Institute of Contemporary Arts 400Marple Arts Group 50 'Northwich and District Society of the Arts 150'Tring Arts Society 200Waltham Holy Cross Arts Council 100West Wight Arts Association 65'Worsley Art and Music Society 85*

2,91 0Housing the arts Music

Aldeburgh Festival of Music and the Arts 25,000County Borough of Bournemouth 5 000Sadler's Wells Trust Limited 2,250

32,250Dram aBromley Theatre Trust Limited 9,25 0Chichester Festival Theatre Trust Limited 21,050'Derby Playhouse Limited 1,250Greenwich Theatre Limited 3,500Liverpool Repertory Theatre Limited 20,000Maddermarket Theatre Trust Limited 1,000York Citizens' Theatre Trust Limited 9,000Yvonne Arnaud Theatre Trust Limited 27,000

92,050ArtCounty Borough of Eastbourne 500Dorset Natural History and Archaeological Society 1,45 0

London :Living Arts Limited (ASAD) 40,00 0Morley College 2,500

44,45 0Arts CentresBirmingham : Cannon Hill Trust Limited 5,000Boston : Blackfriars Trust 250Bridgnorth : Theatre on the Steps 250Kenton Theatre (Henley-on-Thames) Society Limited 5,450Lincolnshire Association 300Royal Cornwall Polytechnic Arts Committee 750Shaftesbury and District Arts Club 1,700

13,700£4,578,859

'Maximum commitments are shown, not necessarily the amounts paid .

95

The Arts Council of Great Britai n

Schedule 4

Art exhibition s

Gross Expenditure

Transport

Organizing

--

--

Insurance

- -

Catalogues

Publicit y

Materials

55,05 2

44,16 5

-

10,623

-

25,25 2

13,10 3

5,95 8

-Hiring-F6-es- 421154,574

Less : Revenue

Admissions 31,290

Catalogue Sale s

Exhibition Fees

Sale of -Seligman Library

Net Expendituretransferred to Schedule 1

10,65 0

-

1,576

- -63,60 1

96

The Arts Council of Great Britain

Schedule 5

Special funds

£ £

£Pilgrim Trust Special Fun dAs at 31st March, 1966 1,893Add: Income during year 11 1

2,004Less : Payments during year 274

1,730

H. A . Thew Fun dCapital Account 7,77 3Income Account :Balance as at 31st March, 1966 699Add: Income during year 41 3

1,11 2Less : Payments during year 200

9128,68 5

Mrs Thornton Fun dCapital Account 5,124Income Account :Balance as at 31 st March, 1966 750Add: Income during year 41 5

1,165Less : Payments during year 595

5705,694

National Manuscript Collection ofContemporary Poets Fun dAs at 31 st March, 1966 2 , 088Add: Income during year 18

2,106Compton Poetry Fun dCapital Account :Balance as at 31st March, 1966 18,22 2Add: Investments acquired 3,571

21,79 3

Income Account:Balance as at 31st March, 1966 1,69 4Add: Income during year 1,38 5

3,07 9Less : Amount invested 2,561

51822,311

Total Special Funds as per Balance Sheet

£40,52 6

97

Market

BookValue

Value

£

£

621

647

751

650433

1,730

The Arts Council of Great Britai n

Schedule 6

Special funds : Assets as at 31st March, 1967

NominalValue

_ Pilgrim _Trust _Special Fund

_5 per cent Treasury Bonds _19.86/89 _

744_Equities Investment Fund for Charities

61 9Cash on Bank Deposi t

H . A . Thew Fund3 per cent British Transport Stock -11 978/88 2,105 1,305 1,93 732 per cent Conversion Stock 2,810 1,531 2,76 8Equities Investment Fund for Charities 2,922 3,543 3,06 8Cash on Bank Deposit 91 2

8,68 5

Mrs Thornton Fun d_

2Z per cent Consolidated Stock_ 665 259 489_

51 per cent Conversion Stock 1974 (PO Issue) 200 190 203

---

cent British Transport Stock 1978/8 8___- 3 -per

_ 355 220 337per cent Funding Stock 1_9_82/8 4_5z 110

_101 100

5 per cent Treasury Bonds 1986/89 1,825 1,524 1,58 8Equities Investment Fund for Charities 2,217

__2,6_88_ 2,32 8

Cash on Bank Deposit 6495,69 4

National Manuscript Collection o f_

_Contemporary Poets Fund_

Manuscripts at cost 1,140Cash on Bank Deposit 966

2,10 6

Compton Poetry Fun dAlbright and Wilson Limited 234 791 872Associated Electrical Industries Limited 200 385 38 1British American Tobacco Company Limited 200 1,510 1,01 0Brown Bayley Limited 480 675 1,740Commercial Union Assurance Company Limited 80 752 _6.5.0_

_County Council of Essex 5-. per cent_

Redeemable Stock 1975/77 1,000 910 96 6Distillers_Co_mpany Limited_ 345 638 71 9D owty Group Limited 525 919 1,004English and Scottish Investors Limited 600 1,920 1,59 0Equities Investment Fund for Charities 2,141 2,654 2,56 1George G . Sandeman Sons and Company- Limited 500 1,188 1,27 5

Investors Limited__Group_ 800 1,320 1,28 0_

Liverpool Corporation 53 per centRedeemable Stock 1976/7_8 1,500 1,365 1,47 0_London Scottish American Trust Limited _ _600 1,650 1,68 0

_

Lyon and Lyon Limited 375 637_

- 1,067_ompany LimitedRoyal Insurance Company - Limited- 105 766 72 7

Schweppes Limited 300 900 722

-

Shell Transport and Trading Company Limited 250 1,913 2,07 9--

-

-

Cash on Bank Deposit - 51 8----

-

-

-

-

- -

- -

- -- 22,31 1

-

£24,807 £33,626

Total Special Funds: Assets as per Balance Sheet £40,526

98

The Scottish Arts Counci l

Revenue and expenditure accoun tfor the year ended 31 st March, 1967

1965/66

243,853 General Expenditure on the Arts (see Schedule 1 )

26,246 General Operating Costs (see Schedule 2 )

2,177 Capital Expenditure Transferred to Capital Accoun t

260 Reserve for Capital Purchases

377 Balance carried down

£272,159 £470,987

6,995

Balance carried forward to Balance Sheet 47,32 2

_ £47,322

391,929

33,795

4,93 6

40,32 7

99

-

1965/66--- -

--

- - - -- -- ----- --

467,836-

270,390 Grant from the Arts Council of Great - Britain -

Cancellation of Grants and Guarantee s_

--- 1,158 In previous year not required 1,20 5

- Amount Transferred from Reserve for Capital Purchases _

260

Sundry ReceiptsInterest on Deposit Account 1,66 7Proceeds of Sale of Assets -_Miscellaneous

-

-1 9

611

-

-

-1,68 6

-- - -

-

-

-

- -

- -

-- -

£470,98 7£272,159

Balance brought forward at 1 st April, 1966 6,99 57,372

Balance brought down -40,32 7377

-

-

£6,995 - ---

-

-

--

-- ---

- - -

---

£47,322

100

The Scottish Arts Counci l

Balance sheetas at 31 st March, 1967

Liabilities

1966£ £ £

Capital AccountBalance as at 31st March, 1966 28,63 7Add: Capital Expenditure during year transferred fro mRevenue and Expenditure Account 4,936

33,573Less : Book Value of Assets written off: 263

28,637 33,31 0

Revenue and Expenditure Account

6,995 Balance as at 31st March, 1967 47,32 2

4,456 Grants and Guarantees Outstanding 16,28 6

Reserve for Capital PurchasesBalance as at 31st March, 1966 260Less : Amount transferred to Revenue and Expenditure Account 260

260 -

Credit BalancesSundry Creditors and Accrued Liabilities 4,88 2

Due to Headquarters 373,924 4,919

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

£44,272

£101,83 7

1 have examined the foregoing Account and Balance Sheet . I have obtained all the information andexplanations that I have required and I certify, as the result of my audit, that in my opinion this Accoun tand Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of th eScottish Arts Council and of the state of their affairs .

Signed : B . D . Fraser .Comptroller and Auditor General, Exchequer and Audit Department, 4th August, 1967

10 1

Assets

1966

Freehold Property

8,307

11 Rothesay Terrace, Edinburgh -8,3097

Office Equipment

-At valuation as at 31st March, 1955, and additions a cost

sold or written off to 31stMarch, 1966

4,534

Additions at cost during yea r

_Less : Items written _ojffduringthe yea rItems transferred to Art Exhibition Equipment _ _ _

-53 4

Cars_Moto rAt cost-Additions at cost during_ Tarr-

1 1 451 2 390

Piano Account 00

Theatre and ConqeTtlIall Equipment-___683 At cost as at 31st_

-Wqrchj ---6a3

- Art Exhibition Equipment ----Transferred tfrom Office . Equipment 325

- ifio_ns,@tc-o-s-t -d~4riiig_ypa! - -242567

_Work sAt cost as at 31st March, j966--Additions at cost duringMene r

2,790- 14,765

_Fteprqdtjctiqn s-&-72 At cost

---3,000 - Grants and Guarantees Paidin-Advance 15500

Balance s__Debi tSundry Debtors and payments in-advance-- 34800Expenditure on future exhibitions in preparation 488 _

DquitOn Current Account-Accow

in_Fland

8.5 - - - - - --10,283-

---AW39

f44,272 E.1 D 1 . 83-7-

Sjocre.tary-rGeneral. :-Nigel-J..-Abercro.mb i e---.-

5886326

102

The Scottish Arts Counci l

Schedule 1

General expenditure on the artsfor the year ended 31st March, 1967

Music

- Opera -Grants and Guarantees (see Schedule 3) 5. 3,870Opera for Al I :

__Gross Expenditure 6,497Less : Revenue 1 , 787

- 4,71 0

_ Other Performances:Gross Expenditure 1,62 1Less : Revenue 612

1,00959,589

Ballet ToursGross Expenditure 4,43 9Less : Revenue 2,258

2,18 1_- Symphony Orchestra

Grant (see Schedule 3) 84,78 5

Other ActivitiesGrants and Guarantees (see Schedule 3) 8,398Concerts :

- -

Gross Expenditure

_--

- 12,830Less: Revenue 4,852

7,97816,37 6

Drama_ Grants and Guarantees (see Schedule 3)_ 144,622Tours :Gross Expenditure 10,88 3Less : Revenue 3,183

7,700Puppet Tours:Gross Expenditure 592Less: Revenue 423

_ 169152,49 1

Art _ Grants and Guarantees (see Schedule 3) 9,18 4Exhibitions :Gross Expenditure 10,88 6Less : Revenue 3,73 1

- 7,15 5

Art Films:Gross Expenditur e- 41 2Less: Revenue 104

308

Lecturers" Fees and Expenses 1,61 0Less : Fees received 506

-- 1,10417,75 1

Festivals Grants and Guarantees (see Schedule 3) 36,68 0

Poetry Grants and Guarantees (see Schedule 3) 2,05 0

Carried forward £371,903

103

Brought forward

_

371,903

Arts Centres and Arts Clubs

Grants and Guarantees (see Schedule 3)

2,47 6

Housing the arts_

Grants and Guarantees (see Schedule 3)

17,55 0

Net Expenditure transferred to Revenue and Expenditure Account

T

£391,929

104

The Scottish Arts Counci l

General operating'costsfor the year ended 31 st March, 1967

£

£

Salaries and Wages

21,59 1

Superannuation

1,26522,85 6

Travelling and Subsistence

2,42 9

Rates, Fuel, Light and House Expenses

3,11 4

Publicity and Entertainment

88 3

Stationery and Printing

1,22 4

Professional Fees

1,00 3

Office and Sundry Expenses

2.28 6

Transferred to Revenue and Expenditure Account

£33,795

Note :Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .

Schedule 2

105

The Scottish Arts Counci l

Schedule 3

Grants and guaranteesfor the year ended 31 st March, 196 7

Opera_MusicScottish Opera Limited _

51,670Amateur Operatic Societies :

Edinburgh Opera Company 200Gilmorehill Chamber Opera Society 200 'Glasgow Grand Opera Society

--

--1,800

53,87 0

Symphony Orchestr aScottish National Orchestra Society Limited 84,78 5

Other ActivitiesAberdeen and District Organists' Association _

1 5_Clarsach Society 100 'Dunbar and District Choral Society 20 '

Edinburgh :

- -Edinburgh Churches Choir 100 'Edinburgh Connoisseur Concerts Society 400 'Edinburgh Organ Recitals Committee 170

_

Edinburgh Rehearsal_Orchestra 100Edinburgh University Singers 225 '

Ferranti Musical Society 1 5Martin Chamber Orchestra 120'National Gallery Lunch Hour Concerts 400 'New Town Concerts 160'

_Saltire Society

_ 150St Mary's Episcopal Cathedral 193Tuesday Folk Club 36YMCA Piano Recital 10 '

_

Glasgow Churches Oratorio Society 100Haddo House Choral Society 678Helensburgh Dorian Choir 10 '

Moray Arts Club

-

- -

15

-Musica Antica a Nu_ova 30 'National Federation of Music Societies 4,200Pitlochry_Festival Society Limited 400Bursarie s- -

-

640

Commissions - -

111'8,39 8

Drama

Arbroath Abbey Theatre Club - __

50 'Bertha Waddell's Children's Theatre 635'

_

Bo'ness : Barony_ Players 250Dundee Repertory Theatre Limited 23,05 1Edinburgh

c Theatre Trust Limited 41,561 'Edinburgh Traverse Theatre Club 7,000 '

__Glasgow Citizens' Theatre Limited _

42,9_78 'Perth RepertoryTheatre Limited 13,700'Pitlochry Festival Society Limited 14,30 0St Andrews Play Club - Byre Theatre _ 8. 72British Centre of the International Theatre Institute 50Council of Repertory Theatres _

50

Train-in _g Scheme Bursary

- 125144,622_

Carried forward £291,675

'Maximum commitments are shown, not necessarily the amounts paid .

106

f £ fBrought forward 291,67 5

Art

Aberdeen Artists' Society 64Dundee Arts Society 50

Edinburgh :Artists Print Workshop 500Church of Scotland Youth Committee 78English Speaking Union 23 7Films of Scotland Committee : New Town Film 3,00 0New 57 Gallery 100

Educational Films of Scotland 50Galashiels Arts Club 75 •

Glasgow :Citizens' Theatre Limited 60 'Glasgow School of Art Graduates Association 25 'New Charing Cross Gallery 103 'University of Glasgow 2 5

Helensburgh and District Art Club 1 7Newton Stewart Art Club 75 'Scottish Design Centre 300Scottish Society of Women Artists 200Bursaries 1,65 0Commissions 150

6,75 9

Public Sculpture Scheme :Cumbernauld Development Corporation 50 'Glenrothes Development Corporation 1,500Lanark County Council 275 •Prestonpans Town Council 150'

1,97 5

Mural Awards :Edinburgh University 150 'Glasgow Corporation 300'

4509,184

Festivals

Aberdeen Arts Centre Festival Week 60Cumnock Burgh Festival Committee 200Edinburgh Festival Society Limited 35,00 0Ledlanet Nights 800Montrose Festival of Music, Art and Drama 620

36,68 0

Poetry

Edinburgh University Press 225'Gairm Publications 250Lines Review 250Scottish Association for the Speaking of Verse

_100 •

Wild Hawthorn Press 50Bursaries 1,175

2,050

Carried forward 339,589

'Maximum commitments are shown, not necessarily the amounts paid

107

Brought forward 339,589

300Arts Centres and arts Clubs

Edinburgh : New 57 GalleryElgin Society Museum- 600'Galashiels Art Club 3 5_Greenock Arts Guild 666 'Burgh of Hamilton 450 'Orkney Federation of Voluntary Associations 100Troon Arts Guild 325 '

-

--- - - -- ---- --

--- -

--2,47 6

Housing the arts

Burgh of Motherwell_and Wishaw 10,000-Orkney Federation of Voluntary Associations

_ 7,55017,55 0

£359,61 5

'Maximum commitments are shown, not necessarily the amounts paid .

108

The Welsh Arts Counci l

Revenue and expenditure accoun tfor the year ended 31st March, 196 7

1965/66

192,312 General Expenditure on the Arts (see Schedule 1 )

22,223 General Operating Costs (see Schedule 2 )

2,716 Capital Expenditure Transferred to Capital Accoun t

4,335

Balance carried down

£212,91 6

1,510

Balance brought forward from 1st April, 1966

2,825

Balance carried forward to Balance Shee t

£4,335

£307,202

2,82 5

12,22 3

X048

257,916

24,818

9,360

15,048

109

----

1965/66 - -

- -- ----

£ £ £

305,000209,922 Grant from the Arts Council of Great Britai n

Cancellation of Grants and Guarantees and provisions for fees and __872 expenses in previous year not required _ 583

-------- ---

-Sundry Receipts

_

Interest on Deposit Account 1,34 8_Proceeds of Sale -of Assets 250Miscellaneous 2 1

2,122 1,61 9

-

- £307,20 2-

---

-

-- -£212,91 6

-

4,335 Balance brought down 15,048

-

-

£4,334-

- - £15,048

110

The Welsh Arts Counci l

Balance sheetas at 31st March, 1967

Liabilitie s

1966

Capital AccountBalance as at 31st March, 1966Add: Capital Expenditure during the year transferre dfrom Revenue and Expenditure Account

Less : Book Value of Assets Sold28,513

Revenue and Expenditure Account2,825

Balance as at 31st March, 1967

23,304 Grants and Guarantees Outstandin g

Credit BalancesSundry Creditors and Accrued Liabilitie sDue to Headquarters

21,920

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

£70,912

£88,060

I have examined the foregoing Account and Balance Sheet. I have obtained all the information an dexplanations that I have required and I certify, as the result of my audit, that in my opinion this Accoun tand Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of th eWelsh Arts Council and of the state of their affairs .

Signed : B. D . Fraser.Comptroller and Auditor Genera/, Exchequer and Audit Department, 4th August, 1967

£

£

28,51 3

9,36 037,87 3

1,56236,31 1

12,223

14,767

14,33410,425

24,759

11 1

Assets

1966

Freehold Property4,300 56 Ruby Street, Cardiff 4,30 0

Office Equipmen t_ At cost as at 31 st March, 1966 5,17 9

Additions at cost during_ year 564_

--

-- -5,179 5,74 3

Motor Cars and Van sAt cost as at 31 st March, 1966 3,90 5

_--Additions at cost during year 3,63 6

7,54 1Less : Items sold during year 1,56 2

-

3,905 - 5,97 9

- _Theatre Properties and Equipment_ At cost as at 31 st March, 1966 2,17 7

Additions at cost during year 2,398

2 177 _ 4,57 5

- -

- - -

-

-

-of Art_Works

At cost as at 31 st March, 1966 9,511_

-Additions at cost during yea r

--

- 2,7629,511 - - -

--- -12,273

--Art_Exhibition Equipment3,280 At cost as at 31st March, 1966

- 3,280

Reproduction s161 At cost 16 1

-___

- Loans to Associated and Other Organizations 950

15,000 Grants and Guarantees Paid in Advance 10,000

Debit Balances Sundry_ Debtors and payments in advance 18,102

Due from Headquarters 418 .437 -

- - -

-

-

--- - -

-- 18,143

-

-Cas hOn Bank Deposit 31,488Less : Balance on Current Account

- 8,90722,581

-

-Add: In Hand 75

18 .962 29 65R

£70,912

£88,060

Chairman of the Welsh Arts CouncilGwyn Jone s

Secretary-General Nigel J . Abercrombi e

The Welsh Arts Counci l

Schedule 1

General expenditure on the artsfor the year ended 31st March, 1967

Music OperaGrants and Guarantees (see Schedule 3) 100,449

_ Opera for All :_-

. Gross Expenditure 12,03 4Less : Revenue 5,477

6,557107,006

Other ActivitiesGrants and Guarantees (see Schedule 3) 15,49 2

Orchestral Concerts, etc . :Gross Expenditure 46,40 5Less : Revenue 25,747

20,65836,150

Drama Grants and Guarantees (see Schedule 3) 15,500

Welsh Theatre Company :Gross Expenditure 62,960

Less : Revenue 9,33853,623

69,122

Art Grants and Guarantees (see Schedule 3) 2,976

Exhibitions :Gross Expenditure 17,192Less : Revenue 2,480

14,71 2

Art Films Tours :Gross Expenditure 41 0Less : Revenue 284

12617,81 4

Festivals Grants and Guarantees (see Schedule 3) 15,858

Poetry and Literature Grants and Awards (see Schedule 3) 2,020Poetry Anthology 2 1Welsh Poetry Readings 225

2,266

Arts Associations Grants and Guarantees (see Schedule 3) 9,700

Net Expenditure transferred to Revenue and Expenditure Account £257,916

11 3

The Welsh Arts Counci l

Schedule 2

General operating costsfor the year ended 31 st March, 1967

-£ -- -

£

Salaries and Wages 13,704

--

- -

-

Superannuation 986-

-

- 14,-690

Travelling_ and Subsistence -2 .18 8

Rent and Rates

-

- 2 1 380

_

Fuel, Light and House Expenses - -

-

934

Publicity and Entertainment -2 ;190

Stationery and Printing --- 1 ;1-43

Off ice and Sundry Expenses-

1,353

Transferred to Revenue and Expenditure Account -£24;878

-

Endowment benefits due to members of the Pension Fund are assured byPolicies held- by the Council .---

114

The Welsh Arts Counci l

Grants and guaranteesfor the year ended 31st March, 196 7

OperaThe Welsh National Opera Company Limited

100,449

Other ActivitiesNational Federation of Music Societies (Guarantees to Affiliate dMusic Societies and Federation Administration) 3,64 0Aberdovey and Towyn Music Club 155'Aberdudwy and Harlech Music Club 100'Abergavenny Three Arts Club 20'Aberystwyth Music Club 140'Aberystwyth University College of Wales Opera Group 250'Aclwyd yr Urdd, Cardiff 144Ammanford Choral Society 160Ammanford and District Arts Club 50'Bala Music Club 105 'Bangor and District Organ Association 205 'Bangor Musical Club 75Barry and District Concerts Society 1,300Bermo Arts Club, Barmouth 37Bethesda Music Club 1 0Blaenau - Ffestiniog and District Music Society 110 `Brecon Music Club 95 'Bridgend Recorded Music Club 150Caerleon Community College Music Club 40Caerphilly Male Voice Choir 70Caerphilly Music Club 85Caldicot Village College Music Club 70 'Cardiff Anglo German Music Society 20 'Cardiff High School Old Boys Association 100Cardiff Music Club 105Cardiff '66' Group 200Cardigan Eisteddfod 85Carmarthen Arts Club 33Chepstow Community College Music Club 115 'Colwinston Festival 100Criccieth and District Music Club 115 'Cwmbran Forum 325 'Dee and Alun Music Society 200 'Dolgellau Music Club 175 'Dowlais United Choir 50East Monmouthshire College of Further Education 120Ebbw Vale Concert Society 75'Edeyrnion (Corwen) Arts Club 60'Gwent and Wye Federation of Townswomen's Guild 1 5Holywell and District Choral Society 69Holywell Music Society 45Jerusalem Chapel Choir 40'Knighton and District Choral Society 238'Llandisfarm College Music Club 177'Llandudno Music Club 105'Llanelli Arts Club 630'Llanidloes Music and Arts Club 160'Machynlleth Music Club 100'Maelor Music Club 70'Merlin Music Society 1,750 'Milford Haven Arts Club 61

Carried forward

£12,349 £100,44 9

'Maximum commitments are shown, not necessarily the amounts paid .

Schedule 3

Music

11 5

Brought forward 12,349

100,449Music

Other Activities (continued) _(continued)

Neath and District Music and Arts Club 70'Neath Opera Group 350Newport Choral Society 100Newport College- of-Art Music Society 75'Newport

Club

-

- --

-_Music -6Newtown Music Club 110'_Pendyras Male Voice Choir 100 'Porthcawl and District Music Club 120'Pwllhelli Cultural Committee 25_

__Radnorshire County Music Committee 70'Rhyl Music Club 300Rhymn_ey Valley Music Club 25'Ruthin Music Club -- 11 5

_

St Asaph Cathedral Arts Committee 45*Swansea and District Ballet Club 15'Swansea Music and Arts Club 300Swansea Philharmonic Choir

_ 140Tabernacle Choir 107Tenby and District Arts- Club - 95'Tonyrefail Adult Education Centre 20'Welshpool Music Club 95West Wales Associaion of Brass Bands 60`

-

700 - ----

-- ---

100 -

15,49211,000

- -

2,250--

---

2,000250

_

15,500Art

Bangor Art Gallery 250

-

Cardiff:Contemporary Art Society of Wales 350University College Film Unit 400

Clwydian Art Society_ 20Dolgellau : Neuadd Idris An Committe e56' Group 150Llantarnum Grange

_450

Meifod : Council for the Protection of Rural Wales 21 0Merioneth Artists Society 70Neath and District Arts Club 50North Wales Group

_64

Pembrokeshire Arts Society 250Pontypool and Eastern Valley Art Society 100 'Prestatyn '57' Group 25 'Pwllhelli Cultural Committee 75

_

St Asaph_Exhibition Committee 45Society for Education through An 250

_South Wales Group -__ 100-Temple Gallery 1 2

Wrexham ArtGroup 25'Commissions

60 ,-

Carried forward

134,41 7

'Maximum commitments are shown, not necessarilv the amounts paid .

BursaryPromotion of New Mu -sic- :- Commissio n-usic: Commission Fees

Drama

Cardiff: New Theatre Trust Limite dCaricature Theatre Limited _Drama Association of Wales_Bursar y

116

134,41 7250710'600150550 '

1,000 -1,000 *

500 '350 '

2,0005,000

200900100

2,03 8100125 '20085

Poetry and Literature

Arts associations

Brought forwardAberystwyth Arts Festiva lBangor Arts FestivalBangor Music Festiva lCity of Bangor Arts Associatio nBrecknock County Festival of Musi cCaerphilly Festiva lCardiff Festival of Twentieth Century Musi cDee and Clwyd Festival of Musi cGarthewin Drama Festiva lLlandaff Festiva lLlangollen International Eisteddfo dLlantillio Crossenny Festiva lMontgomery County Music Festiva lNational Eisteddfod : Port TalbotSwansea Festival of Music and the Art sSwansea Welsh Drama Festiva lSwansea Arts Festiva lSt Woolos Festiva lVale of Towy Music Festiva l

'Anglo Welsh' Revie wPoetry Anthology'Taliesin 'Triskel Pres sBursarie s

Anglesey Arts FundNorth Wales Arts Advisory Panel

15,858

250250200320'

1,0002,02 0

2,20 07,500

9,70 0El 61,99 5

Festivals

'Maximum commitments are shown, not necessarily the amounts paid .

Published by th eArts Council of Great Britai n4 St James's SquareLondon SW1

Typography by Gordon Hous e

8000 copies printed by Shenval Press

Headings set in Monotype Univers 69 314D on 16 pt and 10D on 11 p t

Text and accounts set in Monotype Univer s693and6899Don11ptand8Don10pt

Cover: Superwhite smooth Ivorex s/oRoyal 2 9

Text Paper : Mellotex Smooth Superwhites/o DC 5 8

Blocks by Engravers Guild