ABSTRACT Arnold Wesker’s 1962 musical play about Jeremiah Brandreth and the Pentrich Uprising (1817), presented at a series of Centre 42/Trade Union festivals held around the Midlands and the South of England, focuses questions of class, cultural consumption and the education of ‘the people’ in their own history, in the postwar years. The article considers dissemination of ideas about the Luddites in postwar history broadcasting, including schools broadcasting. A long trajectory of ideas about ‘teaching culture’, from William Morris, via the early labour movement, to Arnold Wesker, is traced out. Wesker’s play The Nottingham Captain (Jeremiah Brandreth) is discussed in relation to the radical playwrights and theatre companies who, in the 1960s and 1970s, argued that the best way to reach working-class audiences was to infuse traditional and popular forms with radical content. Ways of ‘writing the working-class’ in film and television are also considered.

中文翻译：

---

等待：阿诺德威斯克和诺丁汉队长

摘要 阿诺德·威斯克 (Arnold Wesker) 1962 年关于耶利米·布兰德雷斯 (Jeremiah Brandreth) 和彭特里奇起义 (Pentrich Uprising) (1817 年) 的音乐剧在中部地区和英格兰南部举办的一系列 Center 42/工会节日上演出，重点关注阶级、文化消费和教育人民在他们自己的历史中，在战后年代。文章考虑在战后历史广播中传播有关卢德派的思想，包括学校广播。从威廉·莫里斯（William Morris）到早期的劳工运动，再到阿诺德·威斯克（Arnold Wesker），一段关于“教学文化”的思想轨迹被追溯了出来。Wesker 的戏剧《诺丁汉船长》（耶利米·布兰德雷斯饰）与激进的剧作家和剧院公司有关，他们在 1960 年代和 1970 年代，认为接触工人阶级观众的最佳方式是在传统和流行的形式中注入激进的内容。电影和电视中“写工人阶级”的方式也被考虑。