Jocelyn Herbert and David Storey by Exhibition Studio Workshop

WORK BOOK

Cover Photo: JH/9/1/19 “Is that all there is?” Lindsay Anderson, Jocelyn Herbert and David Storey, working together on Stages (1992). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

Curated by MA Curating & Collections 2017-18 Cookhouse, Chelsea College of Arts March 12 - 16, 2018

ACKNOWLEDGEMENTS We would like to extend our thanks to Cathy Courtney and Eileen Hogan for introducing us to the National Theatre Archive, and for supporting this curatorial project. Erin Lee, Anastasios Tzitzikos and Malcolm Mathieson from the National Theatre Archive for your kind assistance in making the exhibition and publication a success. Dave Govier, Charlie Morgan and Mary Stewart from the British Library. Photographs have been reproduced with the kind permission of John Haynes. All photographs remain in ÂŠ of John Haynes. We would like to kindly thank the estate of David Storey and the estate of Jocelyn Herbert. Lastly, to Donald Smith and Cherie Silver for your guidance in curating the exhibition. Exhibition curated by MA Curating & Collections 2017-18. Workbook #4 created and edited by Shan Jiang, Jasmine Kee, Ruby Lau, Zoey Li, Sarah Anne Millet, Kayan Ng, Dominique Wong.

TABLE OF CONTENTS

FOREWORD

SET DESIGN

COSTUME DESIGN

PERSONAL WORK ETHIC

PERSONAL LIFE

ORAL HISTORIES

REFERENCES

INDEX

FOREWORD WRITTEN BY JASMINE KEE EDITED BY SARAH ANNE MILLET

‘Jocelyn was a revelation to me both in personal and artistic terms, and I’ve always found her a very inspiring person’1 – David Storey It is a testament to Jocelyn Herbert that it was characteristic of her career to form long-standing working relationships with many successful playwrights and directors. Her relationship with David Storey was both personal and professional, and their collaboration provides the focus for this exhibition. As the person ultimately responsible for visualising his words, Herbert’s lyricism as a designer - even in designs that appeared simple - was admired by Storey, who credits her with the ability to absorb and identify with his material in an artistic way2. Jocelyn Herbert and David Storey: From the Jocelyn Herbert Archive at the National Theatre considers Herbert’s work not just as functional materials but as works of art in themselves. A reoccurring theme is Herbert’s minimalist aesthetic: a movement characterised by the use of simple forms that is evident in her economic approach to drama. Proving instrumental in understanding how the role of the designer shifted and evolved, with each production Herbert became increasingly active in how they happened. Providing a unique opportunity for students on this year’s MA Curating and Collections course to exhibit objects from the Jocelyn Herbert and National Theatre Archives, the exhibition includes material from drawings, photographs and models, correspondence and notebooks. The display draws attention to five of the seven Storey plays for which Herbert designed the costumes and set Home (1970), The Changing Room (1971), Early Days (1980), The March on Russia (1989) and Stages (1992). Rather than demonstrate Herbert and Storey’s collaboration chronologically, the intention of the chosen material is to best fit the thematic strategy enacted by the curators, hence this focus. An additional component to the exhibition is the inclusion of sound, courtesy of The British Library’s National Life Stories collection. Four edited audio tracks accompany the objects on display.

1 David Storey (1993) in Courtney, C. (ed.) Jocelyn Herbert: A Theatre Workbook. London: Art Books International, p.215. 2 Ibid

MARTA LITRÁN ALTEMIR CECILIJA BERG DOLORES XIAODI CHENG CARLA GIMENO JARIA SHAN JIANG JASMINE KEE RUBY LAU ZOEY LI JIE QIU DOMINIQUE WONG MANASA VEMPALI

SET DESIGN This section of the exhibition focuses on Jocelyn Herbert’s approach to set design for the plays: Stages (1992), Early Days (1980), Home (1970) and The Changing Room (1971). Through an examination of her stage designs, it aims to explore how Herbert worked creatively in relation to these plays by David Storey. Her flexibility to adapt her strategies to each play is highlighted through the materials presented here, including: drawings, a set model and set photographs. Stages, Early Days and Home each demonstrate Herbert’s minimal approach to stage design; firmly believing in the ‘less is more’ mantra that heightened the audience’s concentration on the actor’s ability to act. In contrast, The Changing Room presents a more vibrant set design in order to fulfil Storey’s script for a realistic portrayal of a locker room. As a stage designer, having little on stage became Herbert’s hallmark. Brought together to show the development of her practice, the exhibited materials highlight the influence of modernism on Herbert’s design style. Her sparse use of colour and economical approach encompassed the aesthetic of George Devine’s Royal Court Theatre, shedding new light on the role of the designer at a time when it was little understood or appreciated. Inspired by Bertolt Brecht’s Berliner Ensemble, her time at The London Theatre Studio and studying under the Motley design team, as well as a great admiration for Devine, Herbert challenged the naturalistic and decorative backdrop that accompanied British theatre during this period.

STAGES: SET DESIGN MARTA LITRÁN ALTEMIR AND CARLA GIMENO JARIA Jocelyn Herbert is known as a representational figure of modernist stage design, contributing to the shift of the relationship between writer, director and designer. Collaboration was crucial for the development of her designs. Both David Storey and Jocelyn Herbert complemented each other in having a simple and expressive focus. Stages, premiered at the National Theatre on the 12th of November, 1992, and captured the essence and involvement between the way Storey and Herbert worked together. The play, starring Alan Bates and directed by Lindsay Anderson, introduces the story of Richard Fenchurch, an old artist and writer whose mental health is deteriorating. As the story develops, Fenchurch receives a visit from his ex-wife, daughter, former lover, neighbour, psychiatrist and constructs his own story by explaining secrets and anecdotes both apparently real and imagined.1 Although the text of the play did not include set description, Storey noted (1993, p. 141) that “Jocelyn produced something so close to the mind’s eye invention of the author that it was as if she had composed the play herself”.2 Indeed, the duality of both real and not real, as the focus of the play and its principal character, was emphasized by the design of a concrete ambience within the stage. This process of designing within Stages reflected both the strength of her intuition and her commitment to the text to fit with the play’s concept.3 Likewise, the atmosphere of Stages embodied the main characteristic of her innovative designs, being loyal to the philosophy of less is more.4 At the beginning, Anderson asked for lots of furniture to be part of the set design but as the production evolved, Storey and Herbert agreed that a simple set would work better to enhance the poetic nature of the play. This can be seen in her sketches and design drawings (JH/3/52). The final set included a bookcase, two chairs, a table in front of a window, which she persistently rethought in order to reach the best outcome. Moreover, in one of her notebooks, Herbert points out the necessity of the set being “as anonymous as possible and a very light construction” thus light and textures played a decisive function for the progress of the play. Accordingly, the gauze window installed in the back of the stage, that can be seen both in the drawings (JH/3/52) and in the photograph of the final set (RNT/PP/5/262), was illuminated in way that the audience could see the actors entering and leaving the stage.5 In the end, her minimalist and intuitive design process in Stages brought naturalism to the stage.

1 Drama Online (no date) David Storey Plays. Available at: http://www.dramaonlinelibrary.com/playwrights/ david-storey-iid-114218 (Last accessed: 1 March 2018) 2 Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International. 3 Courtney, C. (ed.) (1993) 4 Farthing, S (2011) The Sketchbooks of Jocelyn Herbert. London : Royal Academy of Arts in association with the Centre for Drawing at the University of the Arts London. 5 Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International.

RNT/PP/5/262 Production photograph of Stages by David Storey (1992). Photograph ÂŠ John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

JH/4/80 Jocelyn Herbert sketch for Stages by David Storey (1992). The Jocelyn Herbert Archive, at the National Theatre, London.

DO I GO FORWARD? OR DO I GO BACK? CECILIJA BERG, SHAN JIANG, RUBY LAU, ZOEY LI

“For me, there seems no right way to design a play, only perhaps a right approach — one of respecting the text, past or present, and not using it as a peg to advertise your skills, whatever they maybe, nor to work out your psychological hang-ups with some fashionable gimmick.” 1 – Jocelyn Herbert The theatre designer Jocelyn Herbert’s bold and minimalist set designs revolutionized British post-war theatre and influenced a new generation of theatre designers. In 1980, her collaboration with playwright and novelist David Storey, as well as director Lindsay Anderson, on the play Early Days undoubtedly lit the whole stage up. The play is an example of the merger of Jocelyn Herbert’s design and David Storey’s text. The play is centred around Kitchen, an aged, slightly senile former cabinet minister, descending into the landscape of old memories while staying at his daughter’s and son-in-law’s house. For her design for Early Days Herbert constructed a set of interlinked gauze covered structures. Herbert’s drawings for the gauzes showcase her poetic approach to the text. Using abstract imagery of trees and leaves, her design complements Kitchen’s fleeting memories and relationship with the present. ‘The set was made of three sets of gauzes, one behind the other, which had abstract trees painted on them. The idea was that Ralph Richardson would come weaving in and out through them and be picked out behind the gauze using just a little light when he first came in.’2 In her pencil drawings of the set Herbert included instructions for a gap to be cut into the gauze painted with abstract imagery of trees and leaves. The process is clearly illustrated through the archival material where she had photocopied photographs of leaves, experimenting with contrasts. She then copied the shapes onto tracing paper, trying out various forms until completing the design in detailed sketches, before eventually transferring it to the stage. She achieved a minimalist approach to represent nature. Furthermore, referring to the photo of the model for the Early Days set (JH/4/62 161), it is apparent that there are several delicate translucent gauzes at intersecting angles. Herbert paid attention to Storey’s characters, evident through the way the characters would interact with her set design. 1 Smurthwaite, N (2015) ‘The Archive: Jocelyn Herbert – design’s quiet revolutionary’, The Stage. Available at: https://www.thestage.co.uk/features/2015/the-archive-jocelyn-herbert-designs-quiet-revolutionary/ (Accessed: 1 March 2018). 2 Jocelyn Herbert in Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International.

Realistic details were placed within the abstract design of her minimalist concept, which is also the curatorial aim of this section. We try to present her unique approach to design to the viewers by exploring her process and the experience of stepping into the atmosphere communicated by the set. The contact sheet presents the movement of every character through the set, which embodied her sense of the theatre. The subtle and evocative design constructs a version of life that is full of silence, yet impressive.3 After reading the script one can say the keywords of Early Days can be memory, family, marriage, nostalgia, and perhaps “Hell is other people”, the real meaning of the play is elusive. In the play, under the surveillance of his family, Kitchen constantly recalls a journey to the sea in his early days: Do I go left? Do I go right? Do I go forward? Or do I go back? Is this the village I’ve arrived at, or is it a place I knew as a child.4 Examining the relationship between his daughter and son-in-law, his granddaughter and her lover, as well as his own relationship with Bristol, the carer arranged by his daughter Matilda, the old man questions the world around him: I did not construct this world, I was thrust into it, without warning, just like you. Having arrived, I didn’t start painting pictures. I took a good look at what I saw. I didn’t like it . I made a fuss. I got up and shouted. I became a liability. The world has very few. I became, in short, a pain in the arse. In the arse of the world I deployed my talent. Is Kitchen as muddled as he appears to be, or is he more in tune with reality than those around him, crying out: Life! Life is what I’ve lived.

3 Rich, F. (1981) Stage: Richardson Stars in Storey’s ‘Early Days’, The New York Times. (Online) Available at:http://www.nytimes.com/1981/05/29/theater/stage-richardson-stars-in-storey-s-early-days.html (Accessed: 1 Mar 2018). 4 Storey, D. (1975) Early Days, Sisters, Life Class. London: Penguin Books. 15

JH/4/62 Sketch of gauze designs (1980). The Jocelyn Herbert Archive, at the National Theatre, London.

JH/4/62 161 Early Days 22.04.1980, Photograph of Early Days model in single card frame (1980). The Jocelyn Herbert Archive, at the National Theatre Archive, London.

JH/4/62 Production photograph from David Storeyâ&#x20AC;&#x2122;s Early Days (1970). The Jocelyn Herbert Archive, Photograph ÂŠ John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

RNT/SM/1/161 Stage Plan for Early Days when it was staged in National Theatre showing the very minimal devices Jocelyn Herbert used in her stage design (1980). The Jocelyn Herbert Archive, at the National Theatre, London.

ANOTHER PERSPECTIVE OF STAGES DOLORES XIAODI CHENG Michael Coveney’s review of David Storey’s play Stages (1992)1 highlighted the actors’ delivery and provided an analysis of the show’s plot and development within the text. The review also reflected on and highlighted the minimal concept and stage design created by Jocelyn Herbert for Stages. In the article, Coveney refers to Herbert’s design as a neutral palette for Storey’s writing. Coveney praised Lindsay Anderson’s direction and claimed the overall production as a ‘beautifully integrated production’2. Additionally, Coveney determined that “Stages is a distillation of David’s previous plays even a bit of a cheek, it lasts 90 minutes and is dramatically inert3”. The reason why I selected this item was that it not only analysed the play but also presented another person’s perspective of David Storey’s work and his value.

1 Coveney, M (1992). Old Storeys can be retold too often, The Observer, 22 November 1992. JH/1/32 Jocelyn Herbert Archive at the National Theatre Archive, London 2 Coveney, M (1992) 3 Ibid

JH/1/32 Coveney, M (1992). Old Storeys can be retold too often, The Observer, 22 November 1992. The Jocelyn Herbert Archive, at the National Theatre, London.

JOHN HAYNES SET PHOTOGRAPHS OF HOME (1970) JASMINE KEE Whilst evident throughout her career, Jocelyn Herbert’s (1917 - 2003) minimalist aesthetic is most clearly realised in her stage designs of which Home (1970) is the primary example. Here, the bare stage reflects the pared-down, Modernist, neo-Brechtian aesthetic that became her hallmark. For Home, performed at the Royal Court Theatre and directed by Lindsay Anderson, David Storey (1933-2017) proposed that there should be no set. This was ideal for Herbert; whose minimalist aesthetic was uncommon for a theatre designer at the time. If one is to discuss modernism in relation to Herbert’s practice, Home is an important example of her economic approach. Set in a mental asylum, Storey’s play is a tale of old age and mental illness in which five characters gradually realise that their delusions and affectations are akin to those of people in a supposedly normal society. Home premiered to critical success at The Royal Court Theatre in 1970. A flag pole, a balustrade, a metal table and four chairs are all that appear on stage; physical realisations that in their sparseness evoke the reality of a mental asylum. Reflecting the feelings of the characters on stage, Herbert’s set successfully captures the play’s theme of isolation through its combination of layout and lighting. John Haynes’ black and white photographs offer two haunting examples of Herbert’s iconic ‘less is more’ style: the abolition of the notion of decoration from the stage, the placement of minimal props and positioning of the actors; the exposed stage and the power of an empty one. As an admirer of the German theatre practitioner and playwright, Bertolt Brecht, the way Brecht staged his plays proved central to Herbert’s mantra. A leading modernist theatre designer, Herbert reduced the number of things on stage to a minimum. Considered within the context of the time in which she was working, Herbert’s sparse approach stems from an appreciation of Brecht and the Berliner Ensemble, and an understanding of European modernist aesthetics, of which Brecht is fundamental in the context of contemporary theatre. In an era obsessed with realism, Herbert, and those working at the Royal Court, established an ethos and aesthetic where what remained off the stage was as important as what was placed on it. Theatricality was achieved equally as effectively in austerity as it was in excess; Herbert’s set design for Home made successful use of a unique space in this way. Haynes’ photography depicts perfectly Herbert’s radical approach to theatre design, situated within the revolutionary model of the Royal Court.

JH/9/1/19 Production photograph David Storey’s Home (1970). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

JH/9/1/19 Production photograph David Storey’s Home (1970) including actors: Ralph Richardson, John Gielgud, Dandy Nichols, Warren Clarke and Mona Washbourne. Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

THE CHANGING ROOM’S DYNAMIC SET DESIGN JIE QIU AND DOMINIQUE WONG The Changing Room, is a 1971 play written by David Storey, directed by Lindsay Anderson and designed by Jocelyn Herbert. The play is set in a locker room for a mid-tier Northern England rugby team on match day. The Changing Room explores the issues surrounding the characters’ everyday lives, and questions concepts such as the nature of competition and violence, as well as class positions within the post-industrial community. Jocelyn Herbert’s approach to The Changing Room’s stage design is vastly different in comparison to the other plays she worked on with David Storey. The plays Early Days, Stages and Home all approached a minimalistic, “less is more” strategy. However, The Changing Room utilises a different perspective in order to convey Storey’s play. In the book ‘A Theatre Workbook’, she expressed that along with the director of the play, Lindsay Anderson, they wanted the set to feel as realistic as possible1. They worked to create a set that was a simplified, refined version of an actual changing room in order to suit the dynamic of the play Storey wanted to convey. Jocelyn Herbert expressed in a typed artist statement (also on display: JH/2/53/3) that even if you are a great artist, theatre design needs to be looked at three-dimensionally in order for the designer to get the most realistic sense of what you are putting into the space2. From the set models, one can see that she is able to move the model pieces freely around to adjust how she finalises the placement for the set. By looking at her model in relation to the drawings, we can see that the drawings reflect her design process and initial ideas. The two drawings on display include a sketch of the changing room with colourful markers and another sketch that includes the actors on the stage. From the drawings, we can see Herbert’s attention to detail which allows for various elements of the set to appear more realistic. For example, the inclusion of various stage props, including the changing bench, massage table, jerseys, labelled lockers and more. The inclusion of these props was necessary in order to construct the most realistic scene. Thus, we can see that the model allows for a more concrete and developed product for this set design.

1 Jocelyn Herbert, “The Changing Room,” in Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International, p84-5. 2 Typed statement by Herbert titled ‘Jocelyn Herbert: Stage and Film Designer’, 1992-1994, JH/2/53/3, Jocelyn Herbert Archive, National Theatre Archive, London, United Kingdom.

JH/4/43 (JH 2386) Drawing of The Changing Room set design by Jocelyn Herbert. Paint, felt tip and pen on paper (1971). The Jocelyn Herbert Archive, at the National Theatre, London.

THE POWER OF THE STAGE MANASA VEMPALI This photograph was taken from the Royal Court Theatre 1970 performance of David Storey’s play Home and depicts the stage work of Jocelyn Herbert. In this photograph, you see the characters Alfred played by Warren Clarke, Marjorie played by Dandy Nichols and Ralph Richardson as Jack. These characters in this play struggle with their mental health whilst in an asylum. Jocelyn Herbert’s minimalist stage design accurately represents the reality of mental asylums where the objects are kept basic and necessary due to the “perceived” risk of self-harm and inflicting injury to inmates. The actors portrayal of these characters surrounded by Herbert’s uncluttered stage design allows them to become the central focus for the viewers. This photograph captures the actors’ dynamic, emotional performances where they activate the space and give an additional meaning and context to the stage props. Alfred’s character throughout the play exhibits odd repetitive behaviour of lifting a chair up and down whilst being in his own world, distanced from reality. Marjorie is intrusive and judgmental of her inmates whilst she exhibits depressive traits, fed up with life. Jack’s character appears hyper and extroverted but towards the end of the play he changes, appearing to have a mental breakdown where he is at a loss for words. The stage’s lack of props represents the reality for people from a mental asylum who are locked away and seem to be forgotten by society and their families. The lack of scenery behind the characters on the set with the darkness of the backdrop helps recreate the bleakness of the mental asylum. In the play, the characters’ conversation, noticing the beautiful scenery, the sky and the clouds is contrary to the reality of the dark backdrop. This in a way enables the viewers to understand the characters’ delusional tendencies. The play’s ideas presented in Storey’s script paired with Herbert’s set design skills are encapsulated in unison in this John Haynes photograph.

JH/9/1/19 Production photograph of Home (1970). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

This photograph of the empty stage, highlights Herbert’s approach to depicting the central themes brought by Storey’s script in the set design of the 1970’s production of Home. The play is set in a mental asylum and uses the stage’s inclusion of negative space to represent the script’s topic of what it means to be an outsider in the world. This stage design makes the viewer aware of their physical position in relation to the stage, where they see the characters stories unfold as if through a microscopic lens. It separates or distances the normality of the viewer from the insanity of characters on the stage. The set design enhances the written ideas in the play of the central characters being onlookers as portrayed in Storey’s script. Herbert’s decision to place a limited number of fragile looking chairs in the centre of the stage depicts the claustrophobia of living in an enclosed space with not enough shared resources. In the script, the central characters discuss the feelings of being trapped whilst everyone is questioning each other on how they arrived in the mental asylum. Herbert’s use of minimalism and direct stage lighting upon an empty table, depicts the play’s main theme of isolation which is represented through the characters’ discussions about their families. The play between light and dark on the stage furthers the viewers’ attention on to the characters’ feelings of emptiness and loss. The relative proportions between the pole in the background of the stage in comparison to the size of the chairs highlights the feelings of insignificance of the characters in the story. This photograph shows Herbert’s unique style and approach of being able to add the least number of objects that portray the most meaning. The stage design in the play Home, appears to have a timeless quality that fits in with Storey’s script’s exploration of the universal struggles of the human condition.

JH/9/1/19 Two empty seats on the stage production of Home (1970). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

LAURA CALLEGARO EVELYN GAN KAY GONG CHRIS WANG SARA WU

COSTUME DESIGN Examining the theme of costumes designed by Jocelyn Herbert, for works by David Storey, both visual material from the Jocelyn Herbert Archive at the National Theatre and audio material from the National Life Stories in the British Library Oral History Collection are utilised and presented within this section.The collection of works provides insight into Herbertâ&#x20AC;&#x2122;s approach to costume design. Through investigating sketches for five plays, the recording of Jocelyn Herbert interviewed by Cathy Courtney and the relationship between costume and characterisation, Herbertâ&#x20AC;&#x2122;s painting experience and artistic ideas are presented and explored.

HERBERT’S CREATIVE PRACTICE: COSTUME DESIGN LAURA CALLEGARO “Jocelyn was integral to the formation of the look of Early Days, which affected the style of the play and how it was done. We share our values of realism derived from naturalism, but without fussiness of naturalism, in order to achieve a poetic effect.” 1 – Lindsay Anderson Early Days is a David Storey play, directed by Lindsay Anderson, which was first performed on 31st March 1980 with the National Theatre. In this play, David Storey takes into consideration the everyday elements of a family’s dynamic whilst triggering broader reflections through the voice of Kitchen, the main character. In Herbert’s drawing, illustrated here, is the character Bristol. Herbert’s designs were linear, pure and symbolically conceived. Through the costumes she created, including her early sketches, it is clear that her intention is not only to make clothes, but also to confer an attitude to the play’s characters through outfits and the selection of specific colours. For Herbert, creating costumes meant an identification with the role in the play, as well as collaboration with the writer and director, in this case, the write was Storey. Their friendship, deep understanding and respect for one another’s work was essential so as to give shape - visually - to the play on stage. Herbert was raised in a theatrical and artistic environment: her father was a comic playwright and journalist, whilst her mother was a painter and pianist. Moreover, at 15 years-old, Herbert went to study painting in Paris where she learnt French and played piano. She was trained in the studio of the painter André Lhote - a fauvist and later cubist. An eclectic and cosmopolitan figure, Jocelyn joined the London Theatre Studio in Islington 1936. In this context, the approach to design centred its emphasis on the significance of the play, the text’s core, and the agility, visual and vocal impact of actors on the audience, as well as eliminating decorative elements. As Herbert remembers in an interview with Cathy Courtney2, for her own practice as a creative mind, she got inspiration from paintings: she was not only used to going to galleries and museums in London, but she also had access to her mother’s library. It is through books that Herbert explored the history of art, from Giotto to Paul Klee, Modigliani, and Bauhaus’ practice.

1 Lindsay Anderson in Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International, p. 111 2 Track 15, Jocelyn Herbert interviewed by Cathy Courtney, C465/13/01-14, Cathy Courtney Oral History Collection © British Library

Thus, Herbert’s formation as a costume and set designer was complementary not only to her personal interests, but also to her own concept of style in relation to the radical modernist transformation that the theatre scene was experiencing in the decades following World War II, as summarized through Edward Gordon Craig’s less is more motto. Craig was an actor and set designer, who claimed that ‘everything on the stage had to emerge from the play’ and that ‘distillation was better than elaboration’3.

Craig, E. G. in Farthing, S. and Eyre, R. (2011) The Sketchbooks of Jocelyn Herbert. London: Royal Academy of Arts. pp. 19 - 20

JH/4/62 Bristol 2225. Jocelyn Herbert’s sketch for David Storey’s play Early Days (1980). The Jocelyn Herbert Archive, at the National Theatre, London.

THE WELL-DRESSED PEOPLE IN HOME EVELYN GAN Home by David Storey, premiered at the Royal Court Theatre in London on 17 June 1970, directed by Lindsay Anderson. The five lonely characters of the play (Jack, Harry, Marjorie, Kathleen and Alfred) have no real families, and are abandoned by their spouses and children. They are confined in a mental asylum, awaiting death. The feeling of isolation and being trapped in a cage becomes a metaphor for contemporary society and the human condition. Only gradually do viewers realise that the conversations that takes place amongst the four main characters are happening not in a country retreat, but in a mental home. Hidden truths are willfully exposed to the sadness of the well-dressed and genial Jack and Harry, and the unstable mental state of seemingly normal Marjorie and Kathleen. The surprising contrast contributes to the haunting power of Storey’s Home, and Herbert’s design works in harmony with the effect. She would ‘use earth colors and green for the country people and then the more blues, greys and blacks for the town people’1. Here, Herbert uses a black suit, grey hat and blue tie for the gentlemanly look for Jack. Sometimes, in order to indicate the importance of the character or the financial situation of a person, Herbert would choose to ‘decorate a piece of clothing with a lace collar or a plain collar’2. The accessories in her sketches give a refined look for Marjorie and pave the way for the shift in the plot. ‘Costume was not just some clothes, it actually means something for the performing character and a relationship has to be built by the designer’3. Herbert uses indicative features and natural design to help temporarily deceive the audience about the surroundings in the beginning, offering a snapshot of normal life while under the surface the truth is horrifying. Herbert liked to get costume inspiration from daily life. She had a little notebook and she was encouraged to draw people on the tube, in a café, on a bus or anywhere she was. She realised that ‘looking at paintings of a period was much more interesting than looking at costume drawings of authentic costume books because they were dead drawings4’. The familiar clothing she designed also played an important part in attracting the spectators.

1 Track 23 Jocelyn Herbert interviewed by Cathy Courtney, C465/13/01-14, Cathy Courtney Oral History Collection © British Library. 2 Track 15 Jocelyn Herbert interviewed by Cathy Courtney, C465/13/01-14, Cathy Courtney Oral History Collection © British Library. 3 Track 15 Jocelyn Herbert interviewed by Cathy Courtney, C465/13/01-14, Cathy Courtney Oral History Collection © British Library 4 Track 14 Jocelyn Herbert interviewed by Cathy Courtney, C465/13/01-14, Cathy Courtney Oral

(Left) JH/4/62 JH2337 Jocelyn Herbert’s character watercolour of Jack, for David Storey’s play Home (1970). The Jocelyn Herbert Archive, at the National Theatre, London. (Right) JH/4/62 JH2337 Jocelyn Herbert’s character watercolour of Marjorie for the David Storey play Home (1970). The Jocelyn Herbert Archive, at the National Theatre, London.

AUSTERE AND EVOCATIVE COSTUME DESIGN KAY GONG AND CHRIS WANG The Changing Room, by David Storey, was first presented at the Royal Court Theatre in London, on 9th November 1971, under the direction of Lindsay Anderson. The set is a locker room used by the players of a Northern England rugby team. It presents issues around the players’ daily life. In Stages (1991) the life story of Richard Fenchurch, an ageing artist and writer, is unwound as his sanity unravels. He tells his story, remembering details and revealing secrets, as visitors both apparently real and obviously imagined – his ex-wife, daughter, former lover, neighbour, psychiatrist – enter the stage uninvited to play their part, either reliving past events or trying bravely to secure his future in the face of his disintegrating mental health1. Herbert and Anderson, in developing The Changing Room, went to Wakefield to watch a football match when they started the project. Herbert made sketches around the equipment that the football players used in their changing room, such as the baths and hooks. She said, ‘it was very valuable to see the massage table and other equipment and how it was used’2.The director even sent the cast to the technical advisor of the Rugby League to be coached on the game. When Herbert was making the design, Anderson and Storey used to meet her to discuss the models and costumes, including the coats and shirts with red and blue stripes. They had a great discussion about the colours of the team. Herbert developed sketches of the costumes they wore off the field. With that drawing, the cast received the option in which they could choose if they wanted to wear the design by Herbert or just wear their own clothes. After working on The Changing Room, Herbert continued with her minimalist style in her work for Stages, but changed the colour in the costume design. Comparing the cumbersome design at that time, her works are full of characteristics, using a minimalist approach to attract the attention of the audience. In The Changing Room, we chose two different costume designs for the character Walsh, with different styles and colours in different situations but for the same character. One is in a white suit with a blue bow tie, and the second is in a blue suit with the same bow tie. Afterwards, when working on Stages, Herbert used the orange colour which created a vivid contrast. One of female characters wore an orange jacket and a brown skirt with yellow hair. Another male wore a white shirt with a grey jacket and brown striped trousers. This colour clash makes characterisation more distinctive and unique.

1 Sternlicht, Sanford V. (2004). A Reader’s Guide To Modern British Drama. Syracuse University Press. p. 167. 2 Herbert, Jocelyn ‘The Changing Room’ In Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International.. p.84

In general, the whole process of the costume design involves experimentations and modifications. In some way, the development of the costumes lets things grow and allows people to find their own character. Herbert created a lot of different characters in different designs. In her works, we can feel a strong image of the character. The costume design gives an intimate connection between Jocelyn Herbert and David Storey’s work.

(Left and Right) JH/4/62 JH2370 JH2371 Walsh, Jocelyn Herbert’s Costume Drawings for The Changing Room (1970). The Jocelyn Herbert Archive, at the National Theatre, London.

(Left and Right) JH/4/62 JH2272 JH2273 Jocelyn Herbert’s Costume Drawings for Stages (1991). The Jocelyn Herbert Archive, at the National Theatre, London

THE MARCH ON RUSSIA SARA WU The March on Russia is a play by David Storey, with Jocelyn Herbert designing the set and the costumes for the characters. The play tells the story about an elderly couple who are celebrating their diamond wedding anniversary with their three children. While the play begins with a warm and friendly atmosphere, as the story unfolds slowly, things start to become angry and painful1. In the face of her husband’s transient amnesia, three children with different harsh living conditions, the seemingly cowardly Mrs Pasmore is a hard-working and reliable woman2. In fact, this is exemplified in the two costumes designs by Jocelyn Herbert for Mrs Pasmore. In one sketch, Mrs Pasmore wears a pale pink nightgown with a white floral design, covered by her soft grey knitted robe. She is also depicted wearing a pair of brown fur lined slippers, and holding a wooden walking stick, along with unstyled hair, and a flat but slightly tired face3. The image of a typical and gentle housewife. In contrast, the hair of Mrs Pasmore in this other drawing has been carefully combed, wearing a pink dress with dark flowers and matching scarves and shoes of the same colour, and material of walking stick appearing to change as well4. Even the expression of Mrs Pasmore in this sketch became sharpened. Herbert designed both sketches of the same character but created two different images, while maintaining common aspects of the character, such as the of pink within both selections. The appearance is a very subtle distinction between the different facets within the character of Mrs Pasmore, but her essence is the same - a soft inner mother, even through a difficult life, showing that she had to work hard to maintain a sharp external image.

1 Woddis C (2017) The March on Russia. Available at: http://woddisreviews.org.uk/reviews/the-march-onrussia/ (Accessed:27 Feburary 2018). 2 British Theatre Guide (2017) The March on Russia. Available at: http://www.britishtheatreguide.info/reviews/the-march-on-ru-orange-tree-the-14950 (Accessed:27 Feburary 2018). 3 JH/4/79 (JH2258) — Watercolour sketch of costume by Jocelyn Herbert. The Jocelyn Herbert Archive, at National Theatre,London. 4 JH/4/79 (JH2259) — Watercolour sketch of costume by Jocelyn Herbert. The Jocelyn Herbert Archive, at National Theatre,London.

JH/4/79 (JH 2258 and 2259) Jocelyn Herbert, watercolour sketches of costumes for David Storeyâ&#x20AC;&#x2122;s play The March on Russia (1989). The Jocelyn Herbert Archive, at the National Theatre, London.

CHERYL XIMAN GUO EVIE KNIGHTON SARAH ANNE MILLET

PERSONAL WORK ETHIC Jocelyn Herbertâ&#x20AC;&#x2122;s legacy was one that was observed and deeply admired by many. Evidently an influencer in both her personal and professional life, she adopted a profound approach and work ethic that was distinctive within her design profession, and one that stayed with her throughout the development of her career. Explored in the form of a retrospective account, personal statements and photographs with both Herbert and playwright David Storey, this selection aims to portray their close friendship, as well as their professional collaborations. Admired by her colleagues, Herbert inspired the people around her. The following material provides an insight into the work ethic and approach that Herbert inhabited, and a new lens through which the viewer can understand the work and collaboration between playwright and designer.

A STAGE DESIGNER, JOCELYN HERBERT CHERYL XIMAN GUO “The less you fill it with decorative decor, the more the audience will concentrate on the actors and listen to what they are saying, rather than just gawp at the scenery”1. – Jocelyn Herbert This typed statement by Jocelyn Herbert from the National Theatre Archive demonstrates where Herbert drew her primary inspiration and creative ideas from when developing her theatre and film designs. Recognized as one of Britain’s most influential post-war stage designers, Herbert often found her ideas within texts. She used minimalism and simplicity in her scenery to draw attention to the actors and the writing rather than the stage itself. As highlighted by Richard Eyre, Director of the National Theatre from 1988-1997, in his speech for the Jocelyn Herbert annual lecture, “the less is more-at least in matters of art”2. This idea has been central to Herbert’s influence, as well as making her a significant figure in the stage design community. In this text, she explained how to begin design work for a play production. The process for her design was to discover the visual style of the show first, then to communicate and form a dialogue with the directors. I believe the reason for her success was that Herbert always remembered the actors during the creative process, as articulated in her statement, “if the scenery arrives and not the actors, you have nothing3”. Herbert specifically oversaw the process of her design, first by finding and developing the tone and colour or draft drawing for the production, then creating a model, through discussion and illustrations. The stage designs she did for David Storey, such as for Early Days (1980) and Stages (1992), made scenery that was expressive and metaphorical, building the stage in an iconographic and minimalist style. Looking to the past through reading her words and the correspondence with her peers allows for exploration into understanding Herbert’s approach in developing her designs and her impact as a set designer.

1 Typed statement by Herbert titled “Jocelyn Herbert: Stage and Film Designer” 1994 from National Theatre Jocelyn Herbert archive, JH/2/53/3. 2 “Less is more” by Richard Eyre at The Jocelyn Herbert Annual Lecture, 20th, Jan. 2010 3 Typed statement by Herbert titled “Jocelyn Herbert: Stage and Film Designer” 1994 from National Theatre Jocelyn Herbert archive, JH/2/53/3.

JH/2/53/3 Typed statement by Herbert titled â&#x20AC;&#x2DC;Jocelyn Herbert: Stage and Film Designerâ&#x20AC;&#x2122; (1994). The Jocelyn Herbert Archive, at the National Theatre, London.

JOCELYN HERBERT: THE DEVOTED DESIGNER EVIE KNIGHTON AND SARAH ANNE MILLET The selected John Haynes photograph highlights the designer Jocelyn Herbert, playwright David Storey and director Lindsay Anderson in development for the production of ‘Stages’. All three worked closely in collaboration with each other through their careers. In particular, Storey and Herbert’s partnership created significant impact within modernist theatre and theatre production through their use of minimalism on stage. This photo illustrates their working relationship and provides a visual aid, and reference, for the other archive objects in the exhibition and selections made in examining the personal life and relationship between Storey and Herbert. Throughout their theatre careers, Herbert and Storey worked on seven different productions together over the span of more than twenty years. The two found a commonality in their interest and educational background in visual art; although, it was their exchange of creative process that made their relationship a unique and special one. Together, along with Anderson, they allowed Herbert’s stage and costume designs to be an integral part of the show’s creation and development process, elevating the role of the designer within stage productions. Stages, which was performed initially at the National Theatre on 18th November 1992 was the last play that both Storey and Herbert collaborated on, under the direction of Anderson. Herbert, was a dedicated and enthusiastic worker and her efforts rarely went unnoticed. One person in particular who recognised Jocelyn’s talents was Richard Eyre, who as mentioned earlier, was the Director of the National Theatre between 1988 and 1997. Eyre spent a great deal of time with Jocelyn at the National Theatre and reiterated his admiration for her in a recent interview for The Stage1, “her quiet, determined voice, her modesty, her frequent amusement at the stubbornness of those she most admired, and her face, which had the beauty of a gothic saint.” (Smurthwaite, 2015) Growing up in a creative household almost certainly gave Herbert that drive and determination towards her unique, creative style and her desire to produce minimal pieces and set designs. This is why this photograph fits perfectly, and stands out for this concept of her work ethic. ‘Is that all there is?’ (written by Anderson at the bottom of the photograph) highlights the distinctive, modernist style of Jocelyn’s aesthetic inspirations for her designs and emphasises her working relationships.

1 Smurthwaite, N (2015) The Archive: Jocelyn Herbert – design’s quiet revolutionary | Features | The Stage [online] The Stage. Available at: https://www.thestage.co.uk/features/2015/the-archive-jocelyn-herbert-designs-quiet-revolutionary/ [Accessed 28 Feb. 2018]

JH/9/1/19 “Is that all there is?” Lindsay Anderson, Jocelyn Herbert and David Storey, working together on Stages (1992). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

SIMONNA GUO LIVIA LIU KYAN KAYAN NG RUOM NI ILEANA TU IRENE YIRAN WANG EUPHY ZHANG

PERSONAL LIFE David Storey and Jocelyn Herbert worked together on a number of theatrical works, and it is said that many years of partnership gave them an implicit understanding. Looking at the diary of Herbert, 1970, it presents an approach in understanding her personal life and professional agendas. The diary could be seen as a play of her life, as it includes dinners, events, rehearsals, appointments and contacts that she noted. Herbertâ&#x20AC;&#x2122;s early works represent her initial practice of minimalism on stage, as well as her remarkable abilities ranged from set design to collaboration and coordination. Her bold design style presumably derived from her educational background and subsequent experience. The collaborative relationship between Herbert and Storey lasted over 3 decades, at the same time their close friendship is also reflected in correspondance within the archive, of which postcards and letters illustrate their strong connection. Apart from the friendship and collaboration with Storey, other items in the archive, unrelated to Storey, including letters from an admirer and postcards, focus on Herbertâ&#x20AC;&#x2122;s personal life. They offer a different and more intimate perspective into another aspect of Jocelyn in her daily life.

PERSONAL RELATIONSHIP BETWEEN JOCELYN HERBERT AND DAVID STOREY SIMONNA GUO, ILEANA TU, IRENE YIRAN WANG

“Her world is one that I enormously warm towards but can never feel a part of; there’s no barrier between us as people and yet culturally we appeared to have little in common.” 1 – David Storey

Jocelyn Herbert came from a middle-class family. Her father A.P. Herbert was a playwright, novelist, humorist and parliamentarian, and she grew up in an environment with artists, writers and politicians. David Storey was born into a working-class family, from a world where he struggled to be an artist. In order to support his artistic life he played professional rugby. He joined the Royal Court in its revolutionary period when they opened their doors to working class writers. Storey collaborated with Jocelyn Herbert and Lindsay Anderson on his play Home in 1970 at The Royal Court Theatre. Herbert wrote: ‘David Storey’s plays reveal the utter frailty of people and how caught they are in their own particular worlds...in a strange way he’s near to Beckett. I suppose I find these people are the ones I respond to most, the ones who are isolated and alone with whom you have rare moments of communication’2. Storey, in turn, appreciated her, saying: ‘her great gift...is her identification with the material...I suppose her gift as a designer, quite apart from her personality, is, in literary terms, her lyricism. It’s a visual lyricism which is the unifying element in all her designs, even in those which are simple and austere’3. At the same time, they had a special relationship in normal life that was quite different from work. An envelope within the Jocelyn Herbert Archive at the National Theatre contains four items with Herbert’s information as recipient, consisting of two sets of two photographs. On one side is text handwritten by a ‘David’ whilst the other is a collage of scenic pictures. The postmark shown on the envelope is Stockwell, 1975. The content of the photographs and text have a distinct attitude. For example, on the reverse of first two photographs, the text reads, ‘I’m sorry I missed you on your return- now I’ve gone for some time to Scotland- will ring on my return. Love. David’. This illustrates that Herbert and her friend were in regular contact.

1 David Storey interviewed by Cathy Courtney (1993). [CD-ROM]. Cathy Courtney Oral History Collection© British Library. 2 Jocelyn Herbert”, last modified 8 May, 2003, https://www.theguardian.com/news/2003/may/08/guardianobituaries.artsobituaries1 3 Jocelyn Herbert”, last modified 8 May, 2003, https://www.theguardian.com/news/2003/may/08/guardianobituaries.artsobituaries1

On the other two postcards, the sender writes, ‘Jocelyn. I told you my photography was dreadful - Jesus College, Cambridge. June 28, 1975’. The word ‘dreadful’ highlights their close personal relationship. These archive items address Herbert’s personal friendships, from casual postcards to formal letters. This chosen birthday card - from Storey to Herbert - has a hand-made quality. Storey writes: ‘My dear Jocelyn, how I wish I could be with you to celebrate another milestone - as you were there to help me with my 60th (and that was more than a dozen years ago!)’. This shows Storey’s regret at his absence from Herbert’s birthday, as well emphasising the frequent contact and longterm friendship. The materials provide a record of their strong connection, and also seeks to invite comparison between their professional and personal relationship.

JH/1/6 Front and back of a photograph collage from ‘David’ as postcards sent to Jocelyn Herbert (1975). The Jocelyn Herbert Archive, at the National Theatre, London.

JH/2/53/13 Jocelyn Herbert’s birthday card from David Storey. The Jocelyn Herbert Archive, at the National Theatre, London.

A WORLD’S EXPANSIVENESS, GENEROSITY AND ACCESSIBILITY LIVIA LIU In 1970, Home won much praise for its minimalistic atmosphere. The Sunday Times described it as ‘an almost overwhelmingly touching drama’1. Jocelyn Herbert, as a contemporary stage designer at The Royal Court Theatre, gradually realised that less and less was needed for the set design. Herbert viewed the evolving Court ethos of ‘less is more’ as ‘an attitude to life, as well as to the theatre’2. Her parents’ introduced her to almost all aspects of literature, from poetry to musical comedy. With the original ambition to be a fine artist, she kept on studying painting with cubist artist André Lhote in Paris until an influential performance inspired her interest in theatre. She subsequently transferred to London Theatre Studio in 1936, under directors Michel Saint-Denis, George Devine, the Motley design team, Margaret Harris, Sophie Harris, and Elizabeth Montgomery. Motley’s scenography was characterised as minimalism, while Saint-Denis sought to lessen chaos from the stage. Herbert’s scenographic training was consolidated by their principles. Over six years, Herbert’s work, based on a poetic aesthetic that tended to be haunting and minimalistic, became her prominent style. Storey and Herbert had a strong personal and artistic connection, even though he felt he experienced a different upbringing to Herbert. As he noted, ‘I felt an immediate rapport with Jocelyn, and her world is one that I enormously warm towards but can never feel a part of; there’s no barrier between us as people and yet culturally we appeared to have little in common’3. Nevertheless, as a designer, Herbert had a power to combine almost all departments, such as the director’s ideas, the actors, the people involved etc. Initially, numerous problems appeared. The way Lindsay Anderson treated actors and crew made her uncomfortable, as has been documented in her journals relating to the filming of The Wales of August (1986), JH/3/101. However, from Storey’s observation, Herbert had a reassuring influence on the production just by her presence. When she was discussing the details of actors’ expressions, she understood what they were conveying, and their potential insecurity on stage. Herbert represented an indispensable spirit; therefore, Storey believed that she came ‘from a world of expansiveness, generosity and accessibility’4. Home represents Herbert’s early practice of minimalism on stage, as well as her remarkable abilities, ranging from set design to collaboration, and coordination. The play was groundbreaking and minimalist, as Jocelyn Herbert noted, ‘it was sheer joy’5.

1 Leaflet [Leaflet obtained from The National Theatre Archive, JH/13/1]. 2 Brochure [Brochure obtained from The National Theatre Archive, JH/13/1]. 3 Jocelyn Herbert in Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International., p.217. 4 Ibid. 5 Jocelyn Herbert in Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International., p.81.

JH/13/1 A leaflet for the first performance of Home by David Story at The Royal Court Theatre (1970). The Jocelyn Herbert Archive, at the National Theatre, London.

JH/13/1 A leaflet for the subsequent performance of Home by David Storey at Apollo Theatre (1970). Designed by Andy Gage. The Jocelyn Herbert Archive, at the National Theatre, London.

SEE JOCELYN HERBERT THROUGH SOMEONE’S EYES KYAN KAYAN NG This selection, from the Jocelyn Herbert Archive at the National Theatre, is focused on Jocelyn Herbert’s personal correspondence, including letters from an admirer which are kept together in the category of ‘Personal Correspondence’. The identity of the sender is unclear, but the correspondence with this friend dates from 19351949. The set is intriguing, as the sender ‘Albert’ is unknown, as well as the selection being written in both French, English and German. The reason to include these letters are to aid in providing a wider image of Herbert’s personal life and her charismatic personality which may have contributed to her success in what wis historically a male dominated industry. Another exhibited object important in understanding a wider picture of Herbert’s personal life is a collection of postcards, stored in the Archive under “General Correspondence”. The selected postcard is from the 1990s’ sent to Herbert by a friend traveling through Cairo, Egypt. The card includes sand adhered to its surface. The postcard displays warm communication between Herbert and her friend, possibly Tony Harrison. Whereas the letter provides insight into a personal relationship between Herbert and a friend, showing a different side to Herbert, not just as stage designer but a woman who was loved by her friends.

JH/2/53/12/1-3 Lettesr to Jocelyn Herbert (1949) The Jocelyn Herbert Archive at the National Theatre Archive, London.

JH/2/53/12/1-3 Postcard (1992). The Jocelyn Herbert Archive at the National Theatre Archive, London.

NEW YEAR POSTCARD RUOM NI When I began my research into the archive of Jocelyn Herbert and her personal and professional relationship with David Storey, I found a lot of correspondence between the designer and playwright. Some letters and postcards are about their work, while others were about their daily life, including this New Year greeting card sent by David Storey to Jocelyn Herbert in 1990. On one side of the postcard are the words ‘lost mine’ 1959, by Peter Lanyon who was a well-known British oil painter. On the other side of the card Storey, along with his wife, Barbara Storey, wishes Herbert a ‘Happy New Year’ together on the card. Herbert and Storey worked together on many stage productions, and it is said that many years of the partnership gave them an implicit understanding of each other. During my research into Herbert and Storey when I found this postcard, I was also celebrating the traditional Chinese New Year. The card struck me as in modern day society, most people will send electronic messages in groups, often flooding inboxes with messages. It is rare that people send a postcard as Storey sent to Herbert 28 years ago. Such changes have also deprived many people of the opportunity to receive blessings and the joy of being able to treasure these words for a long time.

JH/2/53/3 Card from David and Barbara Storey to Jocelyn Herbert (1990s). The Jocelyn Herbert Archive, at the National Theatre, London.

THE 1970 DIARY OF JOCELYN HERBERT EUPHY ZHANG Viewing sketches and designs from Jocelyn Herbert is one way to know her professional inspiration, but her diary directly introduces us to her personal life. This 1970 desk diary is one of a series and includes her diary entries, phone numbers (including contact numbers for colleagues and family friends). The diary entries indicate the date, events and places that she planned. For instance, in her 1984 diary, she planned to go to the airport with Samuel Beckett and in this 1970 one, she made a note of the first reading of Home (1970). The 1970 diary is one of the representational agendas that demonstrates both her personal and professional plans and events. In the diary, she made notes of dinners, meetings and rehearsals, some of which related to the selected objects. It is clearly shown how she planed her work schedule for Home (1970) and its opening night at The Royal Court. The diary indicates to her social life, inviting friends such as David Storey to her country home, ‘the Farm’. The selected designs in this show present her own artistic character, and this diary offers an insight into her personality and life. I chose the diary to highlight the true Herbert because this is the script of her life. She divided her dreams into a specific plan every day in order to achieve her goals and change her life. A Japanese IT entrepreneur Kumagai Masatoshi (2007) described agenda planning as ‘a diary that’s written with dreams’1. The 1970 diary contains some of the steps that Herbert took for the play Home (1970), which shows her earnest, serious, respectful and organised attitudes toward to her career. In terms of managing her personal life, the diary represents how she lived consciously. In other words, in the book The Power of Full Engagement (2002), Jim Loehr believes that keeping a planner is easier to control one’s life instead of being controlled by one’s nature2. Herbert possessed this strong power of management and self-control by creating a conversation and exploration of her true self. The diary presents to us an overall image of Herbert, which will inspire viewers and offer a unique insight to other relevant exhibits.

1 2

Masatoshi, K., (2007). ISSATSU NO TECHOU DE YUME WA KANARAZU KANAU (記事本圓夢計畫). Taipei; Shangzhou Publisher. Loehr, J., (2005). The Power of Full Engagement: Managing Energy Not Time is the key to High Perform and Personal Renewal. New York; Simon & Schuster and Reprint Edition.

JH/10/8 Front Cover and Inside Pages of Jocelyn Herbertâ&#x20AC;&#x2122;s Diary (1970). The Jocelyn Herbert Archive, at the National Theatre, London.

CHERYL XIMAN GUO JASMINE KEE RAFFAELLA MARIADRIANA MATRONE ILEANA TU

ORAL HISTORIES Sound provides an additional component to this exhibition that supports and strengthens the understanding of the objects on display. Created from selected material from the Nataional Life Stories in the British Library Oral History Collection, four edited tracks construct a tapestry of different memories and aid the visitor in their understanding of both subject and medium, in relation to Jocelyn Herbert’s designs and David Storey’s plays. Drawn from a combination of narrators, subject matter includes: minimalism, Stages (1992), Herbert’s position as a painter, her style in relation to theatre, and the friendship between herself and Storey - both holistically as people and professionally as colleagues. Interviews within National Life Stories, such as those referenced here, are conducted on a project basis and held within the collection. The Jocelyn Herbert recordings were initially created as research material in preparation for Cathy Courtney’s publication, Jocelyn Herbert: A Theatre Workbook (Art Books International, 1993). They were later donated to the British Library Sound Archive.

SPEECH GIVEN BY RICHARD EYRE AT THE OPENING OF JOCELYN HERBERT’S RETROSPECTIVE EXHIBITION AT THE NATIONAL THEATRE 1993 [1:38] C968/80/01, Cathy Courtney Oral History Collection © British Library and Richard Eyre. CHERYL XIMAN GUO

In this track, the then director of National Theatre, Richard Eyre (1988-1997), gave a short speech at opening of Jocelyn Herbert’s retrospective exhibition at the National Theatre about her career and achievement.

JOCELYN HERBERT ON STYLE; IN CONVERSATION WITH CATHY COURTNEY [2:33] Jocelyn Herbert interviewed by Cathy Courtney C465/13/01-14 © British Library JASMINE KEE

In this audio clip Jocelyn Herbert discusses the word ‘style’ in relation to theatre design. Following this, Herbert comments on her collaborations with David Storey on The March on Russia (1989), The Changing Room (1971) and Stages (1992) and how she applied a style to his plays.

STAGES: SET PRODUCTION AND BEHIND THE SCENES [1:19] Jocelyn Herbert Interviewed by Cathy Courtney

This excerpt from Cathy Courtney’s interview with Jocelyn Herbert is a description of Jocelyn’s set design for David Storey’s play Stages. The track, in conjunction with the designs and contact sheets from the play selected from the Jocelyn Herbert Archive at the National Theatre, emphasises the harmony that was present throughout Jocelyn and David’s collaboration, together with the remarkable ability of the designer to fulfill the desires of the play just by reading its text. Her talent is demonstrated by the anecdote she tells during the interview: Lindsay Anderson, director of the 1992 production at the National Theatre wanted more furniture on stage but neither Jocelyn nor David agreed with that. Herbert’s design have always been very minimalistic and for this play Storey was looking for a more naturalistic set. After discussion around the model, when Anderson left the room, and with the complicity of Alan Bates, who was also starring in the play, Storey removed all the unnecessary furniture, defining the final design for the play.

THE RELATIONSHIP BETWEEN JOCELYN HERBERT & DAVID STOREY [2:08] David Storey Interviewed by Cathy Courtney C968/93/1-2, Cathy Courtney Oral History Collection © British Library ILEANA TU

In this track, David Storey talked about the disparity between his and Jocelyn Herbert’s background. David Storey was born in to a working-class family, from a world where he struggled to be an artist, so he played professional football to support his artistic life. On the other hand, Jocelyn Herbert came from a middle-class family, grew up in an environment with artists, writers and politicians, which David Storey described as “a world of expansiveness, generosity and accessibility”.

COSTUME DESIGN: IDEAS ON COLOURS, PAINTING AND THEATRE [2:31] Jocelyn Herbert Interviewed by Cathy Courtney C465/13/01-14 © British Library RAFFAELLA MARIADRIANA MATRONE

In this audio montage of edited tracks from Cathy Courney’s interview with Jocelyn Herbert, consideration is given by Herbert regarding her use of colours for clothes, and she expresses an overall idea on the costume design. This extract - which gives the tone to the costume section in the Jocelyn Herbert and David Storey from the Jocelyn Herbert Archive at the National Theatre exhibition - highlights the seminal importance of drawing in Herbert’s creative process, which is enhanced and sustained by a rigorous choice of colours as a medium to define each character’s particularities. Eventually the designer compares painting and stage design as disciplines which can complement each other.

JH/9/1/91 Jocelyn Herbert (1979). Photograph © John Haynes. The Jocelyn Herbert Archive, at the National Theatre, London.

REFERENCE BOOKS Courtney, C. (ed.) (1993) Jocelyn Herbert: A Theatre Workbook. London: Arts Books International. Farthing, S. and Eyre, R. (2011) The Sketchbooks of Jocelyn Herbert. London: Royal Academy of Arts. Loehr, J. (2005). The Power of Full Engagement: Managing Energy Not Time is the Key to High Perform and Personal Renewal. New York: Simon & Schuster and Reprint Edition Masatoshi, K. (2007). Issatsu No Techou de Yume Wa Kanarazu Kanau (記事本圓夢計畫). Taipei: Shangzhou Publisher. Shapland, H. Uncovering the design for ‘Early Days’. (Online) Available at: https://fromthejocelynherbertarchive. com/2017/12/07/1568/ (Accessed: 1 Mar 2018). Storey, D. (1992) Storey Plays: 1. London: Bloomsbury Publishing. Storey, D. (1973) The Changing Room. London: Penguin Books. Storey, D. (1975) Early Days, Sisters, Life Class. London: Penguin Books. William, H. (1988) The Plays of David Storey: A Thematic Study. Carbondale: Southern Illinois University Press.

ONLINE Coveney, M (2017) ‘David Storey obituary’, The Guardian. Available at: https://www.theguardian.com/stage/2017/ mar/27/david-storey-obituary (Accessed: 1 March 2018). Drama Online David Storey Plays. Available at: http://www.dramaonlinelibrary.com/playwrights/david-storey-iid-114218 (Accessed: 1 March 2018). Eyre, R. (2010) Less is More [The Jocelyn Herbert Annual Lecture]. Available at: http://www.jocelynherbert.org/ portfolio-item/the-jocelyn-herbert-lecture-less-is-more-by-richard-eyre/ (Accessed: 4 March 2018). Home Available at: https://www.benchtheatre.org.uk/plays00s/home.php (Accessed: 27 February 2018). O’Brien, T. (2003) Jocelyn Herbert. Available at: https://www.theguardian.com/news/2003/may/08/guardianobituaries.artsobituaries1 (Accessed: 4 March 2018). Rich, F. (1981) Stage: Richardson Stars in Storey’s ‘Early Days’, The New York Times. (Online) Available at: http://www.nytimes.com/1981/05/29/theater/stage-richardson-stars-in-storey-s-early-days.html (Accessed: 1 Mar 2018). The Telegraph (2003) Jocelyn Herbert. Available at: https://www.telegraph.co.uk/news/obituaries/1429506/Jocelyn-Herbert.html (Accessed: 4 March 2018). Sierz, A. and Cavendish, D. (2006) The theatre that changed drama. Available at: https://www.telegraph.co.uk/ culture/theatre/drama/3649245/The-theatre-that-changed-drama.html (Accessed: 27 February 2018).

Smurthwaite, N (2015) ‘The Archive: Jocelyn Herbert – design’s quiet revolutionary’, The Stage. Available at: https://www.thestage.co.uk/features/2015/the-archive-jocelyn-herbert-designs-quiet-revolutionary/ (Accessed: 1 March 2018). Woddis, C. The March on Russia. Available at: http://woddisreviews.org.uk/reviews/the-march-on-russia/ (Accessed: 27 February 2018).

SOUND Track C968/80/01 Cathy Courtney Oral History Collection © British Library. Track C465/13/01-14 track 15 Jocelyn Herbert; C968/80/0 various speakers Sound Archive General © The British Library and SoundServer © Richard Eyre Track C968/93/1-2 track 2, Cathy Courtney Oral History Collection © British Library Track C968/38 number 2 [2:16 circa] Cathy Courtney Oral History Collection © British Library. Track C465/13/01-14, extracts 14 and 15 [2:29], Cathy Courtney Oral History Collection © British Library.

LIST OF PLAYS BY DAVID STOREY DESIGNED BY JOCELYN HERBERT Home (1970) The Royal Court Theatre The Changing Room (1971) The Royal Court Theatre Cromwell (1973) The Royal Court Theatre Life Class (1974) The Royal Court Theatre Early Days (1980) Brighton Theatre Royal and The National Theatre in The Cottesloe The March on Russia (1989) The National Theatre in the Lyttelton Stages (1992) The National Theatre in Cottoesloe

INDEX abstract, 14, 16 Anderson, Lindsay 12, 18, 20, 22, 28, 32, 34, 40, 44, 46, 57 ‘Albert’ from Jocelyn Herbert’s correspondence, 48 Apollo Theatre, 47, 52 asylum, 20, 24, 25, 34 Bates, Alan, 12, 57 Beckett, Samuel, 52 The Berliner Ensemble, 11, 20 Brecht, Bertolt, 11, 20 The British Library Sound Archive, 55 Cathy Courtney, 27, 28, 55, 56, 57 The Chairs, 44 The Changing Room, 11, 22, 32, 56; characters in The Changing Room, 32 Coveney, Michael, 18, 19 correspondence, 45, 48, 50 costume, 27, 28, 29, 30, 32, 33, 34, 57 Craig, Gordon, 29 Devine, George, 11 diary, 43, 52 drawing, 12, 13, 14, 22, 23, 32, 34, 38 Early Days, 11, 14, 15, 28, 38; characters in Early Days, 28 Eyre, Richard, 38, 40 Home, 11, 20, 25, 34, 44, 46, 52 Lanyon, Peter, 50 ‘less is more’, 11, 12, 20, 22, 29, 38, 46 Lhote, André, 46 The London Theatre Studio (LTS), 11, 28, 46

The March on Russia, 30, 56 minimal, minimalism, minimalist, 7, 11, 12, 14, 18, 20, 21, 22, 24, 32, 38, 40, 43, 46, 55, 56, 57 model, 22, 32, 38 modernism, modernist, 11, 12, 20, 25, 40 Motley Theatre Design Group, 11, 46, 56 National Life Stories, 55 The National Theatre, 12, 28, 38, 40, 57 The National Theatre Archive, 38, 48, 57 Nichols, Dandy, 24 naturalism, naturalistic, 14, 27, 57 post industrial, 22 post-war, 38 prop, 22, 24 realistic, 14, 22 Richardson, Ralph, 24 Royal Court Theatre, 11, 20, 24, 28, 32, 34, 44, 46, 47 sketch, 12, 16, 22, 27, 32, 52 Space, 22, 24, 25, 56; negative, 25 Stages, 11, 12, 13, 18, 32, 38, 40, 55, 56, 57; characters in Stage, 12, 32, 24, 34 work ethic, 37

DISCLAIMER: All parties were contacted for permission to use their images or words in this publication. Workbook 4 was published to coincide with the Jocelyn Herbert and David Storey: From the Jocelyn Herbert Archive at the National Theatre. Exhibition at Cookhouse, Chelsea College of Arts, 16 John Islip St, London, SW1P 4JU. 12 - 16 March, 2018.