Griffiths, T. (1998) The curious history and immiment demise of the "challenge and response" model: explaining technological change in the British cotton textile industry from the flying shuttle to the self-acting mule. In: M Berg, K. (ed.) Technological Revolutions in Europe: Historical Perspectives. Edward Elgar Publishing Ltd., pp. 119-37 He writes for theatre, television and cinema. His first full-length stage play was Sam, Sam (1972), followed by Occupations (1972); The Party (1973); Comedians (1976); a new English version of Chekhov's The Cherry Orchard (1978); Oi for England (1982); Real Dreams (1987); Piano (1990); The Gulf Between Us (1992); Thatcher's Children (1993); and Who Shall Be Happy? (1997). He has also written a number of short plays, including Apricots (1978), Thermidor (1978) and Camel Station (2007). Comedians was first presented at the Nottingham Playhouse on 20 February 1975, directed by Richard Eyre.

Griffiths, Attenborough explains, meant he would have given his lifeblood to write the script. It has since been turned down by film producers in Los Angeles, London, Tokyo and by BBC Television. (Though Radio 4, under current controller Mark Damazer, had the wit to broadcast a production in 2008.) Ms Wilde added that Griffiths was "confused about his sexuality" to which the judge commented "he's a little bit old for that" adding "he's got 24 grandchildren". Griffiths, T. (1992) Inventive activity in the British textile industry, 1700-1800. The Journal of Economic History, 52, pp. 155-76 It's especially exciting to see one of our greatest dramatists anticipating two new productions – These Are the Times and Comedians – that will bring his work to a new generation. When he talks about watching John Light, the young actor who will play Tom Paine at the Globe, Griffiths is immediately energised. "He's wonderful," he says. "He works so hard, in rehearsal." To see him on stage, Griffiths says, "is like watching a turf fire". Griffiths' unwavering strengths have been imagination, enthusiasm and resilience. It would be wrong to suggest that he spends a great deal of time brooding on what didn't happen; he's much more interested in what's coming next. Unusually for a man of his age, his unprompted conversation is delivered, for the most part, in the future tense.The 61-year-old began talking to to 'Mark' online in 2019 but didn't realise it was actually an undercover police officer posing as a 14-year-old boy, reports the Liverpool Echo.

While completing my doctorate, I became a research associate with Professor P.K. O’Brien, then Director of the Institute of Historical Research, on a project investigating the origins of technological progress in Britain over the eighteenth and nineteenth centuries. A 95-minute version of the full play was adapted for the Play for Today strand, broadcast on 25 October 1979, produced and directed by Eyre.

Comedians

Trevor Griffiths wanted to take a child for a McDonald's and to the cinema and planned on sexually abusing him in a hotel in Belfast. A 25-minute extract from the play was screened as part of BBC2's 2nd House arts strand on 15 March 1975, directed by Richard Eyre and Ben Rea, with the selected members of the original stage cast: Szalwinska, Maxie (21 June 2023). "A New World: A Life of Thomas Paine at Shakespeare's Globe, SE1"– via www.thetimes.co.uk. Gabriela is currently a Senior Lecturer and Researcher in acting techniques at the University of Wolverhampton, also teaching acting at Staffordshire University. Since 2018, she is a Fellow of the Higher Education Academy and, in 2019, was successfully awarded her PhD practice as research in Konstantin Stanislavsky’s system of acting from Goldsmiths, University of London. List of publications:

Griffiths, T. (1996) Technological change during the first industrial revolution: the paradigm case of textiles, 1688-1851. In: Fox, R. (ed.) Technological Change: Methods and Themes in the History of Technology. Routledge, pp. 155-76 He said: 'It's me, dear boy, it's me!' I told him I needed someone really working-class. I was thinking of [music-hall legend] Max Wall. But Wall said: 'This is the filthiest thing I've ever read in my life.'" (Comedians, now an A-level text, contains mild profanity.) Griffiths, T. (2019) Quantifying an 'essential social habit': The entertainments tax and cinema-going in Britain, 1916-34. Film History, 31(1), pp. 1-26DOI: https://doi.org/10.2979/filmhistory.31.1.0001Trevor Griffiths began his drama career at a Manchester theatre called The Stables, owned by Granada TV. Kenneth Tynan came to see Occupations, Griffiths' play about Italian communist Antonio Gramsci and the workers' appropriation of car factories in Turin in the 1920s, starring Richard Wilson. Tynan, literary manager of the National Theatre, commissioned The Party, the play that introduced Griffiths to Laurence Olivier. As Kurt Vonnegut asserted, These Are the Times is an extraordinary rendering of one of the most neglected lives in history. Tom Paine, born in Thetford, Norfolk, was a founding father of the American nation, having urged its people to fight for independence, with his 1776 pamphlet "Common Sense". He moved to France, where his treatise "The Rights of Man" (1791) crucially influenced the course of the revolution. More than two centuries ago, Paine was arguing for free education, pensions, equal rights for women and the abolition of hereditary power. In Paris he was first elected, then imprisoned. He also found time to design the first Wearmouth bridge, which opened in 1796. Yet Paine died in obscurity in New York City. Six mourners attended his funeral. Carmel Wilde, defending, explained that Griffiths had pleaded guilty and had expressed 'confusion' and 'shame' for his behaviour.

Among the visitors to his hotel room is Antonio Gramsci, the Sardinian editor of a workers’ paper advocating factory soviets on the shop floor. In the conflict between these two men lies the meat of the play’s drama, and it is difficult to do justice to Griffiths’ ability to explore contrasting attitudes to revolution. In brutally simplistic terms, you could say that Kabak is the pragmatist and Gramsci the idealist. There is a great scene where Kabak urges Gramsci to incite an insurrection and speaks of the workers as if they were a military machine. Gramsci, aware of the danger of factory occupation without wholesale support, argues against a mechanistic view of the masses and asks, “How can a man love a collectivity when he has not profoundly loved single human creatures?” I was driving my three kids down to Southampton, to see the husband of the friend who'd gone to Cuba with Jan. They had four children. He told me, when I got there. It just broke us, as a family. It broke our lives. Sian was 11, Emma was 10 and Jess was nine. There was no funeral. We went to the grounds of Harewood House, near Leeds, the four of us. And we sat on this knoll where we used to have picnics, when..." Griffiths pauses. "When there were five of us." Mr Walsh said: "Mr Griffiths talked of him going to Belfast, taking Mark for a McDonalds, going to the movies and staying in a hotel together." Senior Lecturer in Ancient History; Classics Graduate Officer; Programme Co-Director MSc Ancient Worlds Griffiths, of Ajax Avenue in Orford, Warrington, admitted attempting to engage in sexual activity with a boy between 13 and 15, failing to comply with notification requirements, possessing indecent images of children, possession of extreme pornography and three counts of making an indecent photograph of a child.Brought up as a Roman Catholic, he attended St. Bede's College before being accepted into Manchester University in 1952 to read English. After a brief involvement with professional football and a year in national service, he became a teacher. Griffiths, T. (2005) Power, Knowledge and Society in the City. Journal of Urban History, 32 (1)DOI: https://doi.org/10.1177/0096144205279204 The judge said there were no previous convictions adding that some of the offences were aggravated as they were committed whilst on bail "despite attempts to make you comply by police".